By Henry 


"persed at Low Figures. 
“of seventy-two oil paint- 


broker, valued at $150,000, 
huction by John Fell O’Brien 
of the Waldorf-Astoria last 
nis rder of C. H. Patterson, e execu- 
tor, and. brought only $66,910. ee 

_ The auction audience was made up large- 
ay of sightseers, and the bidding for the 
most part was done app ently by dealers, 
“Works. of Corot, Cazin, bigny, Schrey- 
“er, and others broush® about half. their 
original purchase Dp 
_ The record pric as $4,500 for Anton 
‘Mauve's “ Cattle. at*the Well,” This pict- 
“ure was an unusually luminous and color- 


ul example 6f the Dutch painter whose 
‘works are now so much sought after. It 
hee ine firm 0 ured by M. Knoedler & Co. The 
m per siaged re $2,000 Felix Ziem’s 

vor Venice. ” The .*‘ pictorial 

7 grand ns ° Venice ‘has in this work re- 


f Gonasics: UE ieptea. 
with the wonderful. 
ch Ziem is famous. 

Francois ‘Daubigny’ Bef Corbighy on the 


Nie sh aa little river. scene, 
aed M. H. Seligman was the 
iph Schreye ss ‘* Arabs in the Desert”’ 

ae opp for $3,150. This is one 


and sky 
color ef- 


cite ef horses. 

Julien Dupré's ‘‘ Le Regain,” one of the 
‘first successes of this artist, was bought 
Dischen for $2,525 


Perot s ‘*Hivening,”” a characteristic com- 
pi t only $1, 200. This little 
ae ows as eepy river, impurpled in the 


akier mM sun, and several white build- 
gs glowing mellowly through the thick- 
mg haze. The purchaser was J. L. 
-awford, 

rancois Auguste Bonheur’s ‘Cattle in 
sag lorest of Fontainebleau’ was secured 
: . A. Copp for $2,400. This work is 
‘original picture from which A. T, Stew- 


Cattle,’”? now in the Metropolitan Mu- 
seum. oe artist was a brother of Rosa 


heu 
“Jongkind s “On the Corniche Road,” a 
Marie let landscape, was cheap at $2, 028; 
ed pane Ucton “ Cattle Drinking ”’ went 
Detaille’s “‘ During the Manoeu- 
ee drill scene, for $1,400, cand 


oe a He Hye Geen. for $1, vat. ne A. 
Arthur ae or *‘ Sheep in the Moon- 
fish Ags *D Jaeque, and $1,800 for Jules Du- 


Eres armyard.’”’ Charles G. Hmery got 
bargain in arpignies’ s Psst sd age, ‘Aux 
Ebene du Loing’”’ at $2,250, while Crome's 
ae River’? brought only $850. 
enck’ 
7 The artist died only two weeks ago. 
Neuville’s “ Chasseur D’Afrique” solid 
for $1,050, and a marine by. George Inness 
ORs: 51,000, Cazin’s “ The Chateau Farm ” 
was bought by R. Hoagland for $1,700. 
Other prices were as cheap in proportion, 


ir Dreoby Collection Dis- 


eorge L. Crosby, a retired. 


ce ine best-known works of the famous: 


‘art ‘ordered made the famous, “ Woodland 


“Sheep in a Storm” brought. 


—— ————————EE nT | 


CROSBY ART COLLECTION SOLD 


Mauve’s “Cattle. at oe ae Well” Brought 
| _ the Highest Price of the Sale. 


‘For the seventy- -two' paintings -compris- 
ing the Crosby collection, ‘the sum of $67,- 
‘950 was realized at the sale in the Waldor®- 
‘Astorix. last night. Anton Mauve's “‘Cat- 
‘tle at-the Well’’ br t the: highest price 
of the sale, M, | dier.& Co. paying 
$4,500 for. the (pay €@s.. The next. highest 
‘price was: ‘t6r the Felix Ziem ‘Grand 
‘Canal, Venice,” the same firm being’ the 
‘purchasers, The sale; which was conducted 
by John fell’ O’Brien, took place inthe 
large ballroom and. had ‘much of the ‘air’ 


‘of a social function surrounding it, for 
‘many of the’ women present. were, in. bril- 
Seen toilets aud the boxes were. fairly well 
e 
| Some of thie highest pr iced pictures. ad 
‘their buyers were: John. (Old). Crdéme’s’ 
LW Norwich River,’ $850,. M.-H. . Lehman ; 
i|Nelix Ziem’s aban in .1871,’” $1, -M. H. 
Lehman; Charles Jacque’s “S} leep dn Fold,”’ 
| $1,300, ©, AL VArthurs:; By: Harpighi’s “Le 
| Soir,’ > $1,000, M. Kroedler & Cog. Ridgway. 


'Knight’s ‘Lilac Season,’’’ $1,250. Cohen; 
| William: Hart's ‘‘Cattle at Region 3 tars 
|B, BH. Arlington; L. Perrat ‘Weary 


| Gleaner?” $1,000, C. A. Arthurs’ Jules Du- 
'pre’s “A Riverside,” $1, 025; --M. Knoedler’ & 
| Co.; J. Robie’s ‘Roses,’ $1: 200, Steven .Mc- 
| Keever; ._Cazin’s ‘“‘The Chateau -Farm,”’ 
$1. 700, R. Hoaglard: George Inness’s ‘Sunset 
on the Beach,’’ $1,000, Mr. Jacobs; De Neu- 
' yille’s “Chasseur d’ Afrique,” $1, 050, MM. 
| Knoedler & Co.;, Schenck’s “Sheep in. 
| Storm,’’ $1,250,. Henry :‘Seligman; Harpig- 
| nie’s “Aux “Bords de Loing,”’ $2,250 Pe Oe G4 
i imery: Bonheur’ s “Cattle in the’ Forest of 
'Foniainebleu,’’ $2,400, C: A. Copp; ’J. 

| Joungkind’s “Carniche Road, *’$2,025, ‘Charles 
ges Emery; Detaille’s ‘During the | Man- 
'ceuvres,’’ $1,450, Mr. Cohen; Charles Jacque’s 
“Flock of Sheep,” $2,300, C. H. Arthur; 
| Julien Dupre’s ‘Le’ Regain, $2,525, Henry 
'Dischen; Daubigny’s “Corbigny on the 
'Nievre,”’ $2,800, Henry Seligman; Schreyer’s 
“Arabs in the Desert,” $3,150, W. A. Copp; 
'Corot’s ‘“‘vening,”’ $1,200, J. L. Crawford, 
/and Jules Dupre’s “Warm ‘Yard,’ $1,800, oo. 
Bee Arthur. 


2 
| 


Nate Gaovee: i: Crosby: was sold in the large 
an. of the “Lael agra last night 


aap it the seat Bibleht 
cai Bote, of the sale. It was 


bough Messrs: M.. ler & Co. J. GC. 
: me : cop Chateau Fa his first pict- 
oe re U9 as sold at auction since his death, 


pe eat ndance at the sale was very large 
and. ineluded most of the prominent col- 
lectors and: dealers in the city./ From the 
eden the bidding was brisk. Over the more 
portant pictures the competition ‘was 'par- 
arly lively, | the Mauve, Schreyer, Ziem 
yy being especially in demand, i 
ne GF the pictures sold as follows:— 
8 in the Desert,” by Schreyer, $3,100; 
mal, Venice,’ by Ziem, $3, 000; “Cor- 
e Nievre,” ‘by Daubigny, $2,800; 
eth Julien Dupre, $2,525; “Block 
shee: oonlight,”” by Charles Jacque, 
1 ad ux Bords de Long,” by Henri Har- 
ies, $2,250; “Cattle in the Forest of Fon- 
pleau,’’ by Auguste Bonheur, $2,400; “On 
| fhe Corniche Road,’ by Johan Barthold 
4 ee pat oT deck “The Farm, Yard,” by 


PD usiipiaee 


Se A Ow A ase i ae 


“SA Riverside,’ 


) “Amcon Mauyve’s 


*$a.e, 


of tae 


‘tand there was 
some of the macsiterpieces. 


BIG PRICES FOR PAINTINGS. 
Crosby ‘Collection of iBevent -two. 
Canvases Brings $69,000. 


The, collection of seventy-two oil 


paintings: formed by the late George S. 


Croa@by, a.retired Chicago stock broker, 
was seld. at. auctbon in the large ball- 
noom of the Waldorf-Astoria. lasit mi 
‘by Mr. John Fell O’Brien for $68,990 

The bidders included most of the prom- 


| inent collectors and déa.ers, besides” a 


great many brilliantly gowned’ women, 
filling the boxes. 

. “Cattle art ths well” 
‘brow ht $4,500, the hiighest figure of the 
Messrs. M. Knoedler_ & CO, beihg 
the purchasers. Tht anva 8 is an un 


Uaviy luminous. and colorful example 
great. Duta, master’s) ant, in 
whica us combined a charming pictorial 
arrangement and a peculiarly beautiful 
tonal quality, The same firm purchased 
the Felix Ziem ‘‘Grand Canal’of Venice” 
for $3,000, 

Adoloh. Schrayer’s ‘Arabs in, the 
Desert,’ which is ‘one. -of ithe’ west- 
known works of the famous® painter of 
horses, was ‘bought by W. A. Copp for, 
$3,150. 

Hrom the start the bidding was brisk, | 
much competition oyer 


, Among the pictatrens Wine brougiht | Hel 
highest prices’ were ‘Corbigny on the! 
Nievre,” by Dauvigny, $2,800, ito MM. Hy! 
Sel aes ‘Le Regian,’’ ‘by. Julien Du-: 
pre, $2,525, to Henry. Dischen: ‘Cattle in! 
the wer of Fontainebleau,” by Frans | 
eois Auguste Bonheur, $2 400, bos Wi Ae 
Cop; “Sunset on the Beach,” by George, 
Inneéss, 81,000; Jacsbs; Corot? s Evening,” | 
$1,200, JS. Orawford; Schenck’s ‘Sheep | 
Ae the Storm,” $1,200, Henry Seti noe 

eae Joun: gkind’s “Carniche “Road’ 
S698, Charies G. Emery; Jules Dubus 
3, 025, -M, Knoedler & Co, | 


bi hk, 
fnatA 176 6 


CATALOGUE 


GEO. L. CROSBY 
COLL ECTION 
fOLL, PAINTINGS 


TO BE SOLD AT AUCTION, 


By ORDER OF HIS EXECUTOR, 
C. H. PATTERSON, Esq. 


Thursday Evening, March 28, 1901. 
At 8.15 F acu 


IN THE GRAND BALLROOM 


OF THE 


WALDORF-ASTORIA. 


Exhibition opens March 23d, at 3 P. M., and continues, 
except Sunday, until time of sale, in the small ballroom 
of the Waldorf-Astoria. 


JOHN FELL O'BRIEN, Auctioneer. 


OFFICE: 
33 and 35 Liberty St., New York City. 


ARTISTS REPRESENTED. 


Bruck—Lajos, Louis, 48. 
Bonheur, F. A., 55. 
Berne-Bellecour, E., 13, 45. 
Beraud, Jean, 24. 

Col, David, to. 

Morot., ).C. B.,: 69. 

Pea aie (4. AO: 


Crome, John (“Old Crome’’),9. 


Clays, P. J, 62; 
Casanova, A., 4. 
Wettaas,) Jo HL. 5, 38. 
Dupre, Jules, 35, 66. 
Dupre, Julien, 72. 
Dieterle, Marie, 58. 
Detaille, Edouard, 61. 
DeSchryver, Louis, 6. 
Dechamps, A. G., 18. 
Diaz, “N:, 65. 

Petti, C.,. 63. 
Daubigny, Charles F., 71. 
Brnst, R., 33. 

Epp., R., 8. 

Gerome, J. L., 41. 
Gegerfelt, William, 3. 
Harpignies, Henri, 51, 17. 
Hagborg, A., 54. 

Hart, William, 20. 
Haquette, G., I. 
Isabey, Eugene, 53. 
Inness, George, 44. 
Jacque, Charles, 15, 60. 


Jongkind, J. B., 56. 
Knight, D. Ridgway, 20, 43. 
otistarnat.) 1,11. 
Lesur, V. Henry, 22. 
Mauve, Anton, 16, 68. 
Meissonier, Charles, 57. 
Meissner, E., 21. 
Monchablon, Jan, 64. 
DeNeuville, Alphonse, 47. 
Offermans, Tony, 28. 
Perrault, Leon, 34. 
Rubens-Santoro, 32, 23. 
Rico, Martin, 42. 

Rose, Julius, 7. 

Robie, J., 36. 

Schenck, A. F. A:, 50. 
Steinheil, “Age 37,52. 
Sanchez—Perrier, E., 46. 
Stark, James, Io. 
Schreyer, A., 70. 
Vadema,: Laura;!'27: 
Vincent, George, 26. 
Valkenberg, H., 25. 
Von, Cederstrom,) 1.30. 
Vibert, J. G., 30. 

Von Lenbach, Frans, 49. 
Vollon, Antoine, 2. 
Weiss, Geo., 37. 
Willems, F., 12. 
Worms, Jules, 50. 
Ziem, Felix, 14, 67. 


CONDITIONS. 


1. The highest bidder to be the buyer, and if any dispute arise between two 
or more bidders, the lot so in dispute shall be immediately put up again and 
resold. 

2. The purchasers to give their names and addresses, and to pay downa 
cash deposit, or the whole of the purchase-money, 7/ required, in default of 
which the lot or lots so purchased to be immediately put up again and resold. 

3. The lots to be taken away at the buyer’s expense and risk upon the con- 
clusion of the sale, and the remainder of the purchase money to be absolutely 
paid or otherwise settled for to the satisfaction of the auctioneer, on or before 
delivery ; in default of which the undersigned will not hold himself responsible 
if the lots be lost, stolen, damaged, or destroyed, but they will be left at the soie 
risk of the purchaser. 

4. The sale of any article is not to be set aside on account of any error in 
the description. All articles are exposed for public exhibition one or more days, 
and are sold just as they are, without recourse. 

5. To prevent inaccuracy in delivery, and inconvenience in the settlement 
of the purchases, no lo can, on any account, be removed during the sale. 

6. If, for any cause, an article purchased cannot be delivered in as good 
condition as the same may have been at the time of its sale, or should any 
article purchased thereafter be stolen, misdelivered, or lost, the undersigned are 
not to be held liable in any greater amount than the price bid by the purchaser. 

7. Upon failure to comply with the above conditions, the money deposited 
in part payment shall be forfeited ; all lots uncleared within the time aforesaid 
shall be resold by public or private sale, without further notice, and the deficiency 
Gf any) attending such resale shall be made good by the defaulter at this 
sale, together with all charges attending the same. This condition is without 
prejudice to the right of the auctioneer to enforce the contract made at this sale, 


without such resale, if he thinks fit 


JOHN FELL O’BRIEN, 


Auctioneer 


ND INDEX 
ee 
| ; 


PeOGhariiCAL NOTES 
AND INDEX 


LOUIS BRUCK-LAJOS. 


Born 1846. Contemporaneous. 


One of the distinguished European 
painters whose work resembled that of 
Muncacsy, Briick—Lajos was born at Papa, 
Hungary, November 3, 1846. At an early 
age he became a pupil of the Vienna Acad- 
emy, and from 1869 to 1872 he studied in 
Italy, especially in Venice, where he was 
Pony amie ‘at the Academy. Later he 
came to Paris and went to the atelier of 
Michael Munkacsy, by whom he was 
greatly influenced and on whom he 
founded his style. Many of his important 
works are in this country, among them 
Pe) Love’) etter,” M. K. Jessup; 
Peemidren at Play,” J. W.:.Drexel, and 
“Unwilling Scholar,’ which was in the 
Powers collection, at Rochester. 


“The Poor Helping the Poor.” 


FRANCOIS AUGUSTE BONHEUR. 
Born 1824. Died 1884. 


It was the misfortune of this able 
painter that he was overshadowed all 


7 


BIOGRAPHICAL NOTES AND INDEX 


through his life by the fact of his sister’s 
fame. If it had not been for Rosa Bon- 
heur, it is highly probable that Auguste 
would have gained far greater distinction. 
He was, however, officially recognized 
with many medals and honors, and by 
those who have followed art matters his 
pictures are highly prized. He was a 
pupil of his father, Raymond Bonheur. 
He began as a genre painter, but did not 
succeed well until he turned his attention 
to animals. Many of his pictures are 
owned in this country, in the collections of 
James H. Stebbins, R. G. Dun Rie 
ting and the late A. T. Stewart, and it is 
in the latter collection, the canvas being 
now in the Metropolitan Museum of Art, 
that there was the picture ‘“ Woodland 
and Cattle,’ of which the example in this 
collection is the original. Medals: 1852, 
1857, 1859, 1861 and 1863; Legion of 
Honor, 1867. 


“Cattle in the Forest of Fontainebleau.” 


ETIENNE PROSPER BERNE-BELLECOUR. ~ 


Born 1838. Contemporaneous. 


A pupil of Picot and F. Barrias, 
Berne—Bellecour was born at Boulogne 
and distinguished himself at the schools, 
where he drew with surprising facility. 
Army life, so much in evidence in France, 
charmed him from the first, and though 
he has successfully tried genre, landscape 
and portrait painting, it is depicting the 
military episodes, the manceuvres, and the 


8 


BIOGRAPHICAL NOTES AND INDEX 


simple life of the soldier in which he has 
been most happy. Some of his single 
figure studies are among his best works, 
and his detail in representing all the 
minutiz of uniform and equipment is re- 
markable. He has a place at Chateau 
d’Egreville, in the department of Seine et 
Marne. Medals: 1869, 1872 and 1878; 
Legion of Honor, 1878. 


“ The Sentinel.’’ 
fae Corporal Drinks.” 


JEAN BERAUD. 
Born 1849. Contemporaneous. 


, Beraud, who was born of French 
parents in St. Petersburg, Russia, is one 
of the most interesting figures in the art 
life of Paris. While he was a student at 
the Lycée Bonaparte, there came the seige 
Of Paris, and he served in the Guarde 
Mobile. Subsequently he entered the stu- 
dio of Bonnat and sent his first picture to 
Pie moalon) of 1874: Attracted by the 
gaiety and sparkle of life in the Paris 
streets, he constituted himself the historian 
of that particular city, and his name is as- 
sociated with pictures of the beautiful 

; architecture, the fashionable crowds and 
the movement of the world’s metropolis. 
Not content with his successes in that di- 
rection, he painted some subjects, with 
certain departures, that started all Paris 
talking. This was the introduction of the 
figure of Christ into assemblages of people 
in modern attire. One was a dinner party, 


9 


BIOGRAPHICAL NOTES AND INDEX 


with the Saviour at the head of the table 
and a fashionable woman at His feet. It 
was sensational, but it was impossible to 
pass the work by, for it contained elements 
of great seriousness, and the satire was 
tremendous. Medals: 1882, 1883; Grand 
Pris, 1889; Legion of Honor, 1894. 


Rite delaras 


DAVID COL. 
Born 1822. Contemporaneous. 


Col was born in Antwerp and went to 
the Academy there, where he studied for 
some years. His pictures are mostly on 
a small scale and are characterized for con- 
siderable detail. It is said there are few 
collections in Belgium without examples of 
Col’s work. He is decorated with the 
Order of Leopold, which he received in 
TO75. ivedal si yre vie: 


“Market Scene.”’ 


JEAN... BAPTISTE CAMILLERI Gis 
Born 1796. Died 1875. 


Accredited a pupil of Michallon and 
Victor Bertin, it was nature after all that 
taught Corot all he knew and to her he 
went for study, inspiration and consola- 
tion, working always with an enthusiasm, 
an energy and an intense love of her. He 
came of modest origin, his father being a 
hairdresser, and as a young man he was 
destined for trade, but, revolting, his peo- 
ple gave him a fixed allowance and he was 


IO 


BIOGRAPHICAL NOTES AND INDEX 


permitted to follow his inclinations. He 
visited Italy, made many studies there and 
early in his career made careful search- 
ings after nature which enabled him later 
to paint with consummate knowledge of 
landscape forms. Success came gradually 
but surely, and he received always the en- 
couragement and admiration of his con- 
freres. When he received the decoration 
of the Legion of Honor, in 1846, Corot’s 
father doubled his allowance. Corot was 
the doyen of the little group of Barbizon 
men. He was almost childlike in his 
naiveté, beloved by all his fellows and had 
but one thought in life—his art. No one 
in all the history of landscape painting 
ever found more of the beauty, the charm 
and delicate poetry of nature; his color is 
exquisite, his sense of beauty complete 
and his manipulation of his colors that of 
a genuine master. He lived to a splendid 
old age, working to the last with all the 
enthusiasm of youth and he died full of 
honors, regretted by the world at large. 
NMedais; 1538, 1848, 1855 and 1867; 
Legion of Honor, 1846; Officer of the 
Legion of Honor, 1867; Diploma to the 
Memory of Deceased Artists, Universal 
Exposition, 1878. 


“ Evening.”’ 


Pea NT CHARLES CAZIN. 
Contemporary. 


Although Cazin has carefully con- 
cealed the date of his birth, he must be 


II 


BIOGRAPHICAL NOTES AND INDEX 


somewhere in the vicinity of fifty-five 
years of age. He was born at Samer, 
Pas-de-Calais, and was a pupil of Lecoq de 
Boisbaudran, a man famous for the suc- 
cess of his pupils rather than for any 
personal artistic accomplishment. Cazin 
had a success in 1876, with a picture 
called ‘“‘ Dock-Yard,’ but he attracted 
great attention the year following with 
his famous “ Flight Into Egypt,’ now in 
the Museum of the Luxembourg, Paris, 
wherein the canvas showed so new and so 
personal a note of color, as to stand quite 
alone in the Salon. Instantly there fol- 
lowed a crowd of imitators, but none suc- 
ceeded in obtaining the charm of the mas- 
ter’s work. He was in those days a 
painter of history, sacred and profane, and 
of genre, though he subsequently gave all 
up for landscape pure and simple, in which 
direction he has made a special place -for 
himself in the history of) art )itiesisme 
naturalist, but he possesses eyes unlike 
those of other men and he invests his 
composition with a charm of color and a 
poetry entirely his own. Medals: 1876, 
1877 and 1882; Legion of Honor, 1882. 


“The Chateau Farm.” 


JOHN CROME (Known as “OLD CROME”). 
Born 1769. Died 1821. 


John Crome, the son of a journeyman 
weaver, was born in a public house at Nor- 
wich, England, in 1769. He was called 
“Old Crome” to distinguish him from 


12 


BIOGRAPHICAL NOTES AND INDEX 


his eldest son, John Bernay Crome, who 
was also a painter, but without the talent — 
or reputation of his father. In early life, 
John Crome was a sign and coach painter 
and gained a living at that occupation. He 
longed to become an artist worthy the 
name. He taught some and _ worked 
whenever he had the opportunity before 
nature, and gradually he broke away from 
the drudgery of coach painting, devoted 
to making landscapes and gained a modest 
livlihood thereat. He attracted quite a 
following and became President of the 
Norwich Society of Artists. Occasion- 
ally he sent to the Royal Academy exhibi- 
tions, but his interests were centred in 
Norwich, where he was an authority on 
art. It was reserved for later generations 
to give him the full measure of praise due 
his talent and accomplishments, and to-day 
his pictures are accounted masterpieces. 


“A Norwich River.” 


, PAUL JEAN CLAYS. 
Born 1819. Died 1900. 


Though the town of Bruges was the 
birthplace of this distinguished Belgian 
marine painter, he went early to Paris and 
enrolled himself as a pupil of Goudin. 
Immediately after leaving this master he 
devoted himself to painting the sea along 
the coast of Flanders and soon achieved a 
favorable reputation among collectors, 
who eagerly sought his canvases. . He has 


13 


BIOGRAPHICAL NOTES AND INDEX 


also worked along the Thames, in Eng- 
land, and on the east coast. The mouth 
of the Scheldt has furnished with many 
themes. His work has some of the sad- 
ness of the old Dutch masters, as a rule, 
but occasionally he seeks brighter skies 
and always there is excellent color, with a 
solid craftsman-like way of painting. 
Medals: 1851, 1867, 1868; Legion mor 
Honor, 1875; Officer of the Legion of 
Honor, 1881. 


“In the Channel.” 
ANTONIO CASANOVA Y° EStTORAr 


Born 1847. Contemporaneous. 


This unusually dexterous Spanish 
painter, who has enjoyed a great popu- 
larity for many years, was born in Tor- 
tosa, Spain, and studied at Barcelona with 
C. Lorenzalez, afterwards working with 
F, de Madrazo, at the Madrid Academy. 
He has been one of the well-known con- 
tributors to the Paris Salon, sending there 
pictures of monks, generally in white 
robes, at various occupations, a vein of 
humor running through the composition 
as arule. Fair women he has introduced 
into these canvases, painting all with 
astonishing skill, in the most minute way 
as to the features, yet maintaining a 
breadth of handling when he so chose. 
His color sense is refined and his drawing 
exquisite. He has received many honors 
at the European exhibitions; his pictures 
are in. many notable American collections, 


14 


BIOGRAPHICAL NOTES AND INDEX 


an important example being owned by the 
a Se Ciicaco Art Institute. 


“ Gathering Flowers.” 


JOHANNES HUBERTUS LEONARDUS DE. 
* HAAS. 


Born 1832. Died 1880. 


Born at Hedel, North Brabant, de 
Haas went to Haarlem to become a pupil 
of Van Oos. He left him in 1857 to go to 
Brussels, where within a few years he 
achieved a great success. The family has 
been distinguished in art through several 
generations and in different branches, our 
own painter of the same name being a 
relation. His is most renowned for his 
pictures of cattle, and these he paints with 
a free brush, in strong, harmonious color, 
drawing his animals with an intelligence 
the result of serious study and investiga- 
tion into manners and habits. He re- 
ceived a gold medal in Munich, in 1860, 
and has had much official recognition. 


(Cows in Pasture.”’ 
eeihe River-rasture. ” 


JULES DUPRE. 
Born 1812. Died 1880. 


With Rousseau, Jules Dupré was one 
of the moving spirits who started the fa- 
mous Fontainebleau School far back in 
1830, and, curiously enough, he was the 


, , 15 


BIOGRAPHICAL NOTES AND INDEX 


only one of the group who lived to see the 
work of the school fully appreciated. 
Dupré had a melancholy strain about him, 
as may be seen by his pictures, which 
breathe a tender sentiment, touched, per- 
haps, by a poetic sadness that is most 
effective. He was a deep student and 
lover of nature, and he enjoyed all through 
his life a very fair measure of prosperity, 
for he, almost alone of his comrades living 
in the splendid woods of Fontainebleau, 
found patrons, and never wanted for 
money. He enjoys a reputation as a 
painter of the sea quite as much as of the 
landscape, and all he did bears a strong 
personal mark, characteristic of the man 
and his nature. His color was always 
good, his touch virile, and, above all, he 
painted with passion. Medals: 1833, 
1867; Legion of Honor, 1849; Officer of 
the Legion of Honor, 1870. 


“A Riverside.” 
“The harm yard. 


JULIEN DUPRE. 
Born 1851. Contemporaneous. 


Pupil in Paris of Pils, Laugeé and 
Lehmann, as a young man Dupré gave 
evidence of much facility and secured an 
Honorable Mention, at the Salon, in 1879. 
He early went to nature and began paint- 
ing the peasant life of France, many of his 
pictures representing farm laborers, gen- 
erally at haymaking. One of his impor- 
tant works, “ The Balloon,’ 21s saGeane 


16 


BIOGRAPHICAL NOTES AND INDEX 


f | Metropolitan Museum of Art. It came 
ia? from the Seney collection. Later, he 
turned his attention to cattle and was no 
less successful, some of his work in this 
direction receiving considerable attention 
at the European exhibitions. It is inter- 
esting to note that he is a nephew of the 
great landscape painter, Jules Dupré, the 
famous member of the group of Barbizon 
men of 1830. Medals: 1880, 1882, 1880. 


ipeeanegain.’’ 


MARIE DIETERLE. 
Contemporaneous. 


We may not occupy ourselves too in- 
quistively with the date of the birth of this 
able woman painter. It suffices to an- 
nounce that she is the daughter and pupil 
of her father, the late Emil van Marcke, 
himself the most distinguished cattle 
painter since Troyon. She has imbibed 
much of the talent of her brilliant parent 
and paints with a masculine virility and a 
knowledge quite rare among the profes- 
sion, whatever the sex. She knows her 
animal anatomically as well as in its 
various characteristics, and her drawing is 
no less satisfactory than is her color. 
There is breadth to her brush strokes and, 
using a full palette, she invariably secures 
a richness and quality most distinguished. 
She has recetved many honors. 


“ Cattle Drinking.” 


BIOGRAPHICAL NOTES AND INDEX 


JEAN BAPTISTE EDOUARD ‘DETAILLE. 


Born 1848. Contemporaneous. 


There was never for a moment any 
doubt but that Detaiile had the necessary 
talent to enable him to become a proficient 
artist. Immediately after his graduation 
from the Lycée Napoléon, at the age of 
seventeen, he entered the studio of the 
famous Meissonier as a pupil, and the very 
fact of his being taken by that master was 
guarantee of his promise. He was an apt 
pupil; no one draws better or has a more 
comprehensive grasp of the academic. He 
stops at no problem and attacks a compo- 
sition full of figures with the facility of a 
master. From the first, as was natural, 
he inclined to the army as a theme for his 
inspiration. He studied the soldier from 
every point of view, and he had the further 
advantage of serving with the colors and 
taking part in at least one bloody cam- 
paign. At twenty-two he had painted a 
picture called “ Repose During Drill in 
Camp St. Maur,” which gained for him his 
first medal and more orders than he could 
execute. The army found in him a sym- 
pathetic champion, and his brush has been 
busy ever since, picture after picture com- 
ing from his studio, all worthy serious 
affairs, though, for that matter, his lightest 
touch on paper has a rare value. His 
“Defence of Champigny,” considered one 
of his masterpieces, hangs in the Metropol- 
itan Museum of Art. Medals: 1860, 


18 


BIOGRAPHICAL NOTES AND INDEX 


1870, 1872, 1888; Legion of Honor, 1873; 
Officer Legion of Honor, 1881. 


“ During the Manceuvres.”’ 


Pees oCHRY VER. 
Contemporaneous. 
Modern French. Studio in Paris. 


“ Flower Girl.”’ 


ALEXANDRE GABRIEL DECAMPS. 
Born! 1803. Died 1860. 


Decamps was born in Paris March 3, 
1803. He was a history, landscape and 
genre painter, being a pupil of Abel de 
Pujal, David and Ingres. Early in his 
career he broke away from the classical 
principles of style and the imitation of the 
antique. He became a student of nature 
and was one of the leaders of the modern 
romantic school. In 1827 he accompanied 
the marine painter Garneray to Greece, 
Constantinople and Asia Minor, and it was 
while there on this voyage he conceived 
a lasting predeliction for Oriental subjects, 
which he treated with consummate skill 
and power. Many of his works are in the 
United States in the collections of Miss 
Wolfe, August Belmont, J. H. Stebbins, 
Dp, O. Mills, W:. H. Vanderbilt and W. T. 
Walters. 


“ Selling the Slave.” 
19 


BIOGRAPHICAL NOTES AND INDEX 


NARCISO VIRGILIO DIAZ DE LA PENA, 
Born 1808. Died 1876. 


Among all the painters who composed 
the group of the Barbizon men, none had 
a more curious history, and few possessed 
greater individuality than the French-born 
Spaniard, Diaz. Left to his mother’s care 
by a recreant father, he was brought up in 
great poverty by an energetic mother who 
had a hard struggle and died when the lad 
was ten years of age. Adopted by a Prot- 
estant clergyman at Bellevue, near Sevres, 
close to Paris, he was left to wander 
pretty much by himself, and at thirteen 
lost one of his feet through the poisonous 
bite of an insect. Later he worked in the 
porcelain works at Sevres, leaving to go 
with Frangois Souchon, an_ historical 
painter, but he could never stand restraint 
and soon he went his own way, painting 
that which pleased him. He made small 
panels of cupids, nymphs and gaily dressed 
men and women, finding a ready market 
for his work at modest prices, and finally 
he drifted down to the forest of Fontaine- 
bleau, where he met Rousseau. There he 
painted landscape after nature and in his 
studio. His color is unique and his orig- 
inality most engaging. Whether in the 
figure or landscape one must admit his 
genius, wayward at times, it is true, but 
there is ever to his most unimportant panel 
that genuine artistic touch so rare and so 
valued. It was his intimate friend, Jules 
Dupré, who said, with a sigh, as he stood 


20 


BIOGRAPHICAL NOTES AND INDEX 


at the open grave of Diaz: “ The sun has 
lost one of its most beautiful rays.”’ Med- 
als: 1844, 1846, 1848; Legion of Honor, 
1851; Diploma to the memory of deceased 
artists, Universal Exposition, 1878. 


“Gorge d’Apremont.” 


CESARE DETTI 
Contemporaneous. 


Born in Rome and studying at the 
Academy of San Luca, Detti having ar- 
rived at much excellence in his art, sought 
Paris, where jhe took a studio and: has 
remained ever since. A number of his 
paintings have come to this country and 
are in such collections as those of R. G. 
Dun, William Astor, R. C. Taft and W. B. 
Bement. 


“The Foraging Party.” 


CHARLES FRANCOIS DAUBIGNY. 
Born 1817. Died 1878. 


The youngest of the Barbizon paint- 
ers, Daubigny was the son of a teacher of 
drawing, and his aunt and uncle being 
miniature painters, he may be said to have 
come by his taste naturally. He was a 
pupil of Paul Delaroche, and he was an 
unsuccessful aspirant for the Prix de 
Rome. He did go to Italy, however, and 
he traveled considerably about Europe, 
but he finally settled down in France to 
paint the landscape along his native rivers, 


21 


BIOGRAPHICAL NOTES AND INDEX 


and in this work he holds a unique posi- 
tion. He received the cross of the Legion 
of Honor in 1857, his picture “ Spring- 
time’’ being bought by the government 
and it now hangs in the Louvre. He 
built a large boat, which he called “le 
Bottin,” and he may be said to have spent 
the latter part of his life floating up and 
down the French rivers near Paris, paint- 
ing that scenery which he loved so much 
and with his name will ever be associated. 
Medals: 1848, 1853, 1857, 1867; Legion 
of Honor, 1859; Officer of the Legion of 
Honor, 1874; Diploma to the memory of 
deceased artists, Universal Exposition, 


1878. 
“ Corbigny on the Niévre.” 


RODOLPH ERNST. 
Contemporaneous. 


Ernst, who was born in Austria, is 
a pupil of Anselm Feuerbach, the eminent 
director of the Vienna Academy.  Start- 
ing in for himself when he had completed 
his course at the school, he settled in Paris, 
in the rue de Humboldt, and became a 
regular contributor to: the Salon, He 
painted portraits, and, becoming enamored 
of the East, he made some voyages there, 
after which he gave himself over to Ori- 
ental themes. These he paints with con- 
siderable feeling, great dexterity, and the 
subjects are always interesting pictorially. 
He has had a popular success and his 
works are frequently seen in New York. 

‘Loe vitsér 


22 


ee ee 


BIOGRAPHICAL NOTES AND INDEX 


RUDOLF EPP. . 
Born 1834. Contemporaneous. 


It was at the Carlsruhe Art School, 
under the distinguished master, Des- 
courdes, that Epp received his training; at 
an early age he started in as a portrait and 
genre painter, meeting with instant suc- 
cess, his subjects being chosen with a 
view to popular approval. The simple vil- 
lage themes he treated sympathetically 
and his brush work, his color and good 
drawing were always appealing. As far 
back as 1865 he settled in Munich, and 
since that time he has been in evidence in 
the exhibitions through Germany, particu- 
larly in that city. One of his well-known 
pictures, and which has been reproduced in 
engraving, is “ Jugglers Performing Be- 
fore Peasants,” the scene admitting, as may 
be imagined, of clever character search- 
ings. 


“Sunday Morning.” 


JEAN LEON GEROME. 
Born 1824. Contemporaneous. 


None of the modern Frenchmen have 
achieved more renown than the wonderful 
portrayer of the manners and customs not 
alone of modern and ancient France, the 
far East and the classic days of Rome, but 
of most European countries, while as a 
sculptor he has secured the distinction of 
being awarded the Grand Medal of Honor. 
Of excellent family, Géréme began his 


23 


BIOGRAPHICAL NOTES AND INDEX 


studies early, under the best of auspices, 
and he has never ceased to be a student. 
He was a pupil of Paul Delaroche and of 
Gleyre, and though he failed to get the 
Prix de Rome, he achieved renown with 
his picture painted at that time, which is 
now in the Luxembourg. It is called “The 
Cock Fight.” He is a professor at the 
Ecole des Beaux-Arts, a member of the In- 
stitute of France, of most of the art bodies 
throughout the world, and, in short, all the 
medals and honors that one may have are 
his. Many of his pictures are among the 
genuine masterpieces of-modern art. He 
is an academic draughtsman, and his color 
has at times a tendency to be dry, but his 
accomplishments are of the highest and his 
intellectual qualities, his consummate 
knowledge of picture making, are wonder- 
ful to the last degree. Among the works 
that remain as conspicuously distinguished 
may be mentioned: “Cleopatra and 
Cesar,” “Death of :@eesan [eo tanee 
Charmer,” “ Duel After the Masquerade,” 
“Phryne Before the Pribunaly Qe sa 
nence Grise,” and ‘‘ Moliere Breakfasting 
with Louis XIV.” Medals: 1847, 1848, 
1855, 1867, 1874, 1878; Commander Le- 
gion of Honor. 


“ Returning to the Palace, Cairo.” 
> 


WILLIAM, VON GEGERFELT. 
Contemporaneous. 


Born in Gothenburg, Sweden, and a 
member of the Stockholm Academy, Ge- 


24 


a ee 


BIOGRAPHICAL NOTES AND INDEX 


gerfelt has had a studio in Paris for many 
years. He is a landscape painter of much 
renown and has painted much in his own 
country, as well as in Holland and France. 
He makes frequent trips to Venice, and his 
picture in this present collection is a souve- 
nir of that city. | 


* Venice, Sunset.” 


HENRI HARPIGNIES. 
Born 1819. Contemporaneous. 


The doyen of French landscape paint- 
ers and one of the most beloved and re- 
spected in his profession, did not begin the 
study of art as early as do most of his 
countrymen, for he was twenty-seven be- 
fore he went as a pupil to Jean Alexis 
Achard. With this man he studied, two 
years after which he went to Italy, where 
he remained the same length of time. Im- 
mediately he showed an originality of style 
that was of the most distinguished and 
poetic order, and, working seriously, faith- 
fully and with continual enthusiasm, he 
attained the highest rank, and is to-day 
surpassed by none of his contemporaries. 
The charm of his color is no less agreeable 
than his delightful choice of subject. He 
depicts nature in her more quiet moods, at 
twilight, at early moonrise, or in the full 
light of midday, and ever sympathetically. 
His manner of painting is like his nature, 
big and thoroughly simple; there is no sus- 
picion of labor, no artificiality, and never 
a thought of anything but a poetic rendi- 


25 


BIOGRAPHICAL NOTES AND INDEX 


tion of the theme. Honors have been 
fairly heaped upon him, no less than six 
of his pictures being hung in the Luxem- 
bourg, and in 1897 he received the Medal 
of Honor of the Salon, a rare distinction 
for a landscape painter. At eighty, he is 
to-day painting away with all the vigor 
and enthusiasm of youth, and his work 
shows not the slightest diminution of excel- 
lence. Medals: 1866, 1868, 1869, 1872, 
1878, 1897; Commander of the Legion of 
Honor. 


eA bords ide ome. 
i Dy eeseg ene 


AUGUST HAGBORG. 
Contemporaneous. 


Born at Gothenburg, in Sweden, Hag- 
borg, after studying at the Stockholm 
Academy, came to Paris and placed him- 
self under Palmaroli. He was one of the 
group of Norsemen in the French capitol 
in the late seventies who attracted great 
attention by the virile manner of painting 
and the clever way of working. He had 
almost instant success, painting the life of 
the common fisher people along the coast 
of Normandy and Britanny. ‘These pic- 
tures attracted great attention and pres- 
ently secured for him a medal of the third 
class, other honors following. One of his 
paintings was purchased for the Museum 
of the Luxembourg, and many of his 


26 


BIOGRAPHICAL NOTES AND INDEX 


works have come to this country, where 
he has always been a favorite. 


“ The Quarrel.” 


WILLIAM HART, N. A. 


Born 1822. Died 1894. 


Born in Paisley, Scotland, and one of 
two brothers, both artists, William Hart 
was taken by his parents early to America. 
His first notions of art were obtained 
through assisting at coach decoration in a 
shop in Albany where he was employed. 
Subsequently he painted portraits, opening 
a studio in New York in 1853. He was 
made an Academician in 1858 and was 
President of the American Water Color 
Bocety itom 1870 to 1873. He has 
painted many important pictures, and his 
work is in many collections in this country 
and England. He died at Mount Vernon, 
Rey, an: 1894. 


emeatte at Brook.”’ 


GEORGES HAQUETTE. 


Contemporaneous. 


Born in Paris, pupil of Adolphe Mil- 
let and of Cabanel, Haquette secured a 
medal of the third class in 1880. He has 
painted a great deal in and near Dieppe, 
France, the sea having considerable charm 
for him. A favorite with Americans, 


27 


BIOGRAPHICAL NOTES AND INDEX 


some of his most important canvasses are 
owned in this country. 


“Entering Port in a Storm.” 


EUGENE LOUIS GABRIEL ISABEY. 
Born 1804. . Died 1886. 


This distinguished son of a dis- 
tinguished father was born in Paris on 
the 22d of July, 1804. His father was 
painter to the Empress Josephine and to 
Charles X. He was a Commander of the 
Legion of Honor and the recipient of many 
official honors. His portraits of Napo- 
leon I. are among the best in existence, 
and his works have great historical value. 
The son, Eugene, who was his pupil, 
proved himself worthy of the name and 
promptly took high rank among his con- 
temporaries. He painted landscapes, 
hunting scenes and marines, and occasion- 
ally figures of importance were introduced 
into his pictures. It was as a marine 
painter that he gained many of his honors, 
being made an Officer of the Legion of 
Honor in 1852. In 1830 Isabey accom- 
panied the expedition to Algiers as Royal 
Marine Painter. Many of his marines 
are in the prominent museums of France 
and elsewhere. Isabey had much in com- 
mon with the “ Men of Thirty,” expressing 
himself in the same simple, frank manner, 
looking always for tonal results and invari- 
ably securing the feeling of impressive 
sincerity. He looked for and generally 
found the larger truths of nature, and he 


28 


—— 


BIOGRAPHICAL NOTES AND INDEX 


saw things in a poetic, subdued way, 
bothering himself not at all with detail, 
yet never lacking for interest or the feeling 
of finish. Medals: 1824, 1827, 1855; 
Officer Legion of Honor, 1852. 


Se alas Elarbor.”’ 


GEORGE INNESS. 
Born 1825. Died 1894. 


Mr. Inness was born in Newburg, 
N. Y., in 1825, and as a youth was appren- 
ticed to an engraver. Never possessing 
much physical strength, he was obliged 
soon to give up the profession and occupy 
himself with that which was less confin- 
ing. Thus it was he began to paint. A- 
few lessons from Gignoux was all the 
study he had with a teacher. After that 
he made his own way, hampered, it should 
be remembered, by ill health, poverty, and 
uncongenial surroundings, for art in 
America in his youth was not inspiring. 
At twenty-five he went to Europe, where 
the “men of 1830” were working in a 
direction that at once appealed to him. 
The rest is soon told. He saw as he had 
never seen before the possibilities of his 
profession, and he returned to his native 
land to paint in a manner that at once 
marked him as an innovator, and which, 
if it pleased the few, did not find instant 
| public favor. His independence, passion- 
| ate love of art and confidence in himself 
| carried the day. The aim of his life was 
fixed. From then on he never swerved 


: 7 


BIOGRAPHICAL NOTES AND INDEX 


from the ideals he had set himself. To- 
day his name stands as the greatest of the 
landscape painters of his country, and in- 
deed among those great masters of the 
world’s art. At the dispersal of the 
Thomas B. Clarke collection in 1899, 
nearly forty of his canvases were shown 
and sold, and prices were established that 
demonstrated the importance of the man’s 
position in the world of art from the col- 
lector’s standpoint of financial values. 
Since then his works have been eagerly 
purchased, whenever the chance offered. 


“* Sunset on the Beach.’’ 


CHARLES EMILE -JACOUE 
Born 1813. Died 1895. 


Jacque, who is high in rank among 
the painters of landscape and animals, and 
who excelled in both, harmonized the two 
with true feeling. Like Millet, for a time 7 
he sought elegance in style, but aban- 
doned it to give to the figures of his rural 
scenes only the look natural to them. 
After leaving school Jacque entered the 
office of a notary; at seventeen he began 
to study engraving, leaving that to join the 
army, where he remained seven years. 
Again he went to engraving and worked 
for two years, beginning in 1845 to paint. 
Later he turned his attention to etching, 
in which medium he became one of the 
most distinguished masters of his time. 
It was not until 1861 that his work in oil 
received official recognition. He was one 


30 


BIOGRAPHICAL NOTES AND INDEX 


of the Barbizon—Fontainebleau painters, 
indeed the last survivor of that group. As 
a painter of sheep and barnyard fowl he 
was famous, and the landscape part of his 
work is no less remarkable, time having 
somewhat refined and mellowed his color, 
which at the first was inclined to be heavy. 
It is interesting to note that the sale of his 
studio collection of pictures and sketches, 
after his death, produced the remarkable 
figures of 600,000 francs. Medals: 1861, 
1863, 1864, 1889; Legion of Honor, 1867. 


»" oneep in Fold.” 
“Flock of Sheep, Moonlight.” 


JOHANN BARTHOLD ,JONGKIND. 
Born 1819. Died 18091. 


Born at Latrop, near Rotterdam, 
Jongkind was a pupil of the great Isabey, 
and as early as 1852 received a third medal 
at the Salon. After that for awhile his 
pictures were rejected by the committees. 
At the Paris Exposition of 1889, however, 

_ he came into his own and received much 
honor. He has painted his own country 
and Paris, particularly the scenes around 
and about the river front, going down also 
into Normandy. Houses, ships, wind- 
mills, market places, and all places that 
have any traces of human labor are dear to 
him. It is said that there were few men 
who knew the buried corners of gay Paris 
as did Jongkind. He may be called a con- 


31 


BIOGRAPHICAL NOTES AND INDEX © 


necting link between the landscape paint- 
ers of 1830 and the impressionists. 


“On the Corniche Road.”’ 


DANIEL RIDGWAY. KNIGHT: 
Contemporaneous. 


Although Mr. Knight was born in 
Philadelphia, Pa., he went early to Paris, 
where he has remained ever since. He 
has a house and studio at Poissy, next the 
country-place of the French painter Meis- 
sonier, whose pupil he was at one time. 
He also studied at the Ecole des Beaux 
Arts and with Gleyre, and he has received 
many honors at the Salon, to which he has 
been a regular contributor for many years. 
His subjects are, as a rule, French peas- 
ants, young and attractive girls at some 
pleasant occupation, and the backgrounds 
are recognizable as being of the hills and 
valleys round and about his country place. 
He is said to be the most successful, from 
a financial standpoint, of any of the Amer- 
ican painters abroad. 


“Rest by the Wayside.” 
“ Lilac Season,” 


CA GLOGS TA UNA: 
Contemporaneous. 


M. Loustaunau, a native of Paris and 
a pupil of Vibert, Barrias and the Ecole 
des Beaux Arts under Géréme, is a clever 
draughtsman and a painter of generally 


32 


BIOGRAPHICAL NOTES AND INDEX 


interesting themes. His work is in great 
detail, much after the manner of his mas- 
ters, and he has enjoyed considerable pop- 
ularity. 


“Gathering Specimens.” 


WeerteoNiY’ LESUR. 
Contemporaneous. 
One of the younger clever Frenchmen. 


Studio in Paris. 
“On the Quai.” 


ANTON MAUVE. 
Born 1838. . Died 1888. 


Born at Zaandam, Holland, Mauve 
was a pupil of Pieter Frederick Van Os, 
and subsequently became a member of the 
Dutch Society of Arts and Sciences, as 
well as of the Belgian Water Color Society. 
He was one of the most distinguished of 
the modern Dutch painters, both in oil and 
water color, and obtained many honors, 
having been made a Knight of the Order 
of Leopold and receiving medals at Phila- 
delphia, Amsterdam, Vienna, Antwerp and 
Paris. His works are in many of the 
principal museums of Europe and America, 
and in late years, since his death, his 
fame has greatly increased. He delighted 
in the tender sentimental effects of even- 
ing, in which he introduced cattle or sheep, 
and his works have nearly always a poetry 


33 


ar ig: eae 
Pe Set Re 
= se 455 


BIOGRAPHICAL NOTES AND INDEX 


and feeling entirely personal and always 


charming. 
“ Cattle at the Well.” 
“* Morning. (Water colors) 


JEAN CHARLES MEISSONIER. 
Contemporaneous. 


The younger Meissonier has struggled 
all through his life with the handicap of 
having a most distinguished father, and 
but for this it is probable that he would 
have attained to higher honors, for he has 
unusual talent and is a craftsman of no 
mean ability. He was, of course, a pupil 
of his father, and like him, he was attracted 
to genre subjects of the middle ages, of 
picturesque costumes and quaint surround- 
ings, and these he does exceedingly well. 
A number of his minute panels are owned 
in prominent collections in this country 
and he has had medals abroad. He resides 
in Paris. 


“The Musketeer.”’ 


ERNST ADOLF MEISSNER. 


Born 1837. Contemporaneous. 


A German animal and_ landscape 
painter who has always found great favor 
in this country, Meissner was born in Dres- 
den, April 42;:1837, and: studied¥atreae 
Dresden Academy, as well as under Kum- 
mer. He spent some years at Zurich, as 
well as in Rome, and finally settled in 


34 


BIOGRAPHICAL NOTES AND INDEX 


Munich in 1870, where he has been ever 
iecwetie) Has) pictures in. the Vienna 
Academy and at the Dresden Gallery and 
is represented in many American collec- 
tions. His works are, as a rule, sympa- 
thetically rendered country scenes of sheep 
and cattle under some interesting effect of | 
sky with attractive landscape. 


“Landscape and Sheep.”’ 


JAN MONCHABLON, 


Born 1854. Contemporaneous. 


Monchablon comes from an artistic 
family, his father being Xavier Alphonse 
Monchablon, a portrait and history painter, 
and winner of the Grand Prix of Rome in 
1863. The son has devoted himself to a 
purely personal rendition of nature in a 
primitive manner, painting in minute de- 
tail apparently every blade of grass, and 
giving an almost photographic aspect of 
the place represented. This, however, is 
done with no small artistic feeling, and the 
compositions have always a world of inter- 
est. Peaceful valleys, generally in mid- 
summer, under quiet skies, are rendered 
with alluring dexterity. Each work is 
signed, numbered and dated, for the artist 
gives out nothing but that which has re- 
ceived his most careful attention and on 
which he has labored faithfully. 


*La-Saone a Lironcourt, le Soir.” 
’ 


oe 


BIOGRAPHICAL NOTES AND INDEX 


“ALPHONSE: Di UNI VII: 
Born 1836. Died 1885. 


De Neuville was certainly the greatest 
of all modern battle painters; perhaps no 
man ever surpassed him in the truthful 
rendition of the horrors of war, for he not | 
only had made sketches on the field under 
fire, but he was the most distinguished 
craftsman of'a race not lacking in technical 
dexterity and academic training. A mas- 
terly draughtsman, with an intuition for 
military scenes, de Neuville gave early 
promise of the fine career he made for him- 
self. He began at the law, however, but 
after three years he gave that up and went 
to study with Picot. When he was 
twenty-three he took a medal of the third 
class, and from then on honors ‘fairly 
flowed in on him. He became intimate 
with Detaille, a friendship being formed 
that lasted until death, and with him he 
subsequently made a panorama of one of 
the famous battles of the Franco-German 
war. His pictures are numerous, for he 
was a rapid workman. Many of them in 
this country. The Vanderbilt family pos- 
sess probably his masterpiece, “ Defence 
of La Bourget.” Medals: 1859, 1861; 
Officer of the Legion of Honor. 


“ Chasseur d’Afrique.” 


TONY OFFERMANS. 
Contemporaneous. 


Tony Offermans is one of the leaders 
of the Dutch school. He was born at 


36 


BIOGRAPHICAL NOTES AND INDEX 


The Hague, where he has a studio. He is 
represented in most of the current Euro- 
pean exhibitions, and a number of his pic- 
tures are owned in this country. <A 
picture somewhat similar to the one in this 
collection was seen in the David King sale 
in 1896. 


“The Patient Angler.” 


LEON BAZILE PERRAULT. 
Contemporaneous. 


Poitiers, in France, is the birthplace 
of this artist; he was a pupil of Picot and 
Bouguereau. He has followed pretty 
closely in the steps of the latter, some of his 
pictures having nearly all the qualities of 
Bouguereau. He received a medal as early 
as 1864, and many of his works are in 
American collections, where he has always 
enjoyed great popularity. He has a stu- 
dio in Paris and is a regular contributor to 
the Salon. 


“The Weary Gleaner.” 


- RUBENS-SANTORO. 


‘Contemporaneous. 


Born at Naples. Honorable Men- 
tion, 1896. 


“Canal de San Marino. Venice.” 
“Canal in Venice.”’ 


Se 


BIOGRAPHICAL NOTES AND INDEX 


MARTIN RICO. 
Contemporaneous. 


Born at Madrid, Spain; received his 
first instructions in drawing from a kindly 
hearted captain of cavalry who procticed 
as an amateur. Rico, as a youth, used to 
be fond of wandering about the country 
studying nature, and in the meantime he 
maintained himself with the sale of his 
drawings and by making engravings. By 
great economy he managed to get money 
enough together to go to the school where, 
under Frederico Madrazo, he won the first 
Prize of Rome ever given in Madrid for 
landscape. At Rome Zamacois took him 
in hand, and he remained four years in 
that city. Coming to Paris he became 
friendly with Meissonier and Daubigny, 
who criticised his work from time to time, 
and his success followed; he secured a 
vogue that has lasted ever since. Medals: 
1878, 1889; Legion of Honor, 1878. 


Venice 


JULIUS «ROSE. 
Contemporaneous. 


English painter. Studio in London. 
“The Fjord.” 


JEAN BAPTISTE ROBIE. 
Born 1821. Contemporaneous. 


Robie was born in Brussels, and at an 
early age began his studies at the Academy 
38 


BIOGRAPHICAL NOTES AND INDEX 


in that city. He is perhaps the most fa- 
mous of the still life painters of Belgium, 
painting roses in particular with rare 
skill. His fame in this branch of art has 
spread over the world, and such canvases 
have achieved a wide popularity. Many 
honors have been conferred upon him in 
Paris, Brussels, Holland and Australia. 
He is a Commander of.the Order of Leo- 
pold and has a studio in Brussels. Medals: 
1848, 1851, 1863, 1879. 


wumoses.”” 


AUGUSTUS FREDERIC ALBRECHT 
SCHENCK, 


Pore iio2o,,. Died) 1901. 


- Only last month the death of this 
eminent painter was announced. He was 
born at Gluckstadt, Holstein, April 23, 
1828, and became early a pupil of Cogniet, 
in Paris. He lived during many years and 
until his death at Ecouen, near Paris. As 
an animal painter he stood high and, mak- 
ing a specialty of painting sheep in snow 
storms, the public came to look to him for 
such themes in which he excelled. The 
King of Portugal made him a Chevalier of 
the Order of Christ, and he was made a 
Commander of the Order of Isabella the 
Catholic, in Spain. One of his pictures is 
in the Catharine Wolfe collection, at the 
Metropolitan Museum of Art. Medals, 
1865, 1876. 


““ Sheep in Storm.”’ 


39 


BIOGRAPHICAL NOTES AND INDEX 


ADOLPHE CHARLES EDOUARD STEIN- 
HEIL. 


Contemporaneous. 


A nephew of the great Meissonier, 
and the son of a distinguished parent, 
Steinheil carries out the traditions of his 
uncle in painting minute, highly finished 
panels, drawn in a masterly manner and 
worked out with artistic completion. His 
father was Louis C. A. Steinheil, renowned 
for portrait, genre and class work, an 
Alsatian by birth. Many of the works by 
the younger Steinheil are owned in this 
country and all he does is the result of long 
and serious application. He received a 
medal in 1872. 


“A la Fénetre.”’ 
‘TeA. Critics) 


EMILIO SANCHEZ-PERRIER. 
Contemporaneous. 


This astonishingly clever Spaniard 
was born in Seville and received his art in- 
struction under Cano. His first picture to 
attract attention was shown at the Salon 
of 1886, where it received an Honorable 
Mention. Three years later the artist took 
a silver medal at the Exposition Umver- 
selle. He settled in Paris and secured 
almost instant popularity for his highly- 
finished landscapes. The artist’s work is 
well known in this country where his pic- 
tures are in many collections. 


* The River at Saint Quen.” 
40 


BIOGRAPHICAL NOTES AND INDEX 


JAMES STARK. 
Born 1794. Died 1859. 


The son of a dyer at Norwich, Eng- 
land, Stark gave early evidence of a talent 
for art, and, his people being well-to-do, 
he was, at seventeen, placed with John 
Crome, contributing the same year he went 
to study with that master five landscapes 
in oil to the local exhibition at Norwich, 
and being then elected a member of the art 
society in that town. He came to London 
in 1817 and entered the Academy schools, 
but was obliged, through sickness, to re- 
turn home shortly afterwards, remaining 
there in the practice of his art for twelve 
years. Back again to London, he was es- 
tablished in the metropolis ten years and 
went to Windsor, returning once more to 
London to educate his son. He was only 
mildly appreciated during his life, and it 
remained for posterity to realize his true 
worth, his pictures to-day bringing excel- 
lent prices and attracting attention of col- 
lectors for their seriousness, detail and 
sturdy honest English qualities, along lines 
more or less prescribed by his master, 
Crome. 


“Near Thorp, Norwich.” 


mie SSCHREYER. 
Born 1828. Died 1900. 


Probably one of the best painters of 
horses the world ever saw. He acquired 
his intimate knowledge of the anatomy and 


41 


BIOGRAPHICAL NOTES AND INDEX 


pose of a horse and rider by long and 
ardous travel through Hungary, Wallachia 
and Southern Russia and accompanying 
the Austrians on their march through the 
Danubian principalities in 1854. Was 
member of Antwerp and Rotterdam Acad- 
emies. Medals: Brussels, 1863; Paris, 
1864, 1865, 1867; Munich, 1876; Order 
of Leopold, 1866; Court Painter to Duke 
of Mecklenburg, 1862. 


** Arabs in the Desert.”’ : 


LAURA TADEMA. 
Contemporaneous. 


The wife of the great Sir Lawrence 
Alma-Tadema, was a Miss Epps, daughter 
of the famous London merchant, and she 
practised her art for some time before her 
marriage. Under the instruction of her 
distinguished husband she made rapid ad- 
vance until to-day she is quite able to rest 
her reputation on her own accomplish- 
ments, which are unusually good. She 
paints something after the manner of her 
husband and is a good draughtswoman. 
Her pictures frequently get to New York 
through the English dealers and they have 
found always a ready market. She had 
her own studio in the superb mansion in 
London where she and her husband are in- 
stalled and which is one of the show places 
of the great metropolis. 


The Toast.” 


BIOGRAPHICAL NOTES AND INDEX 


GEORGE VINCENT. 


‘ 


9 


inv 


Born 1796. Died 1831. 


One of the many pupils of “ Old” 
Crome, Vincent has a pathetic history, bad 
habits and debts causing his ruin. He was 
born at Norwich, where his first pictures 
were shown, although he sent many works 
to the Royal Academy and other London 
exhibitions. One of his great pictures is 
“Greenwich Hospital” ; he painted mar- 
ines as well. 


Norfolk Homestead.” 


VALKENBURG. 
Contemporaneous. 


One of the group of The Hague men 
in evidence in the water color and oil ex- 
hibitions throughout Europe, and a sym- 
pathetic worker, more particularly in the 
first-named medium. 


“Preparing Breakfast.”’ 


THURE VON CEDERSTROM. 


Contemporaneous. 


A Swedish nobleman with the title of 
Baron. He was born on the estate of 
Aryd, Smaland, Sweden, June 25, 1843. 
He has a cousin, Gustav Olaf Cederstrom, 
also a baron, and a genre painter. Thure 
went to Dusseldorf where he entered the 
Academy under Albert Baur, and later he 


43 


BIOGRAPHICAL NOTES AND INDEX 


enrolled himself at the Weimar Art School. 
Much travel familiarized him with the cap- 
itals of Europe and his pictures became 
known. He received a medal in London, 
in 1879. 

‘At His Ease” 


JEHAN GEORGES VIBERT. 
Born 1840. Contemporaneous. 


Vibert is a genuine Parisian, being 
born in that city, receiving his art educa- 
tion fram Picot and Barrias, and since his 
manhood, identified with metropolitan life. 
He has been and is one of the most popular 
of living painters, his choice of subject be- 
ing always interesting and his painting 
dexterous and facile. A large number of 
his pictures are owned in this country and 
his work has been reproduced in. many 
mediums. His “ Missionary’s Story” 
brought the sensational price of $25,500 
in the Morgan sale, in New York, and his 
“Cardinal’s. Menu,” at the same sale, 
brought $12,500. He is famous for his 
red cardinals, his management of that color 
under all possible conditions of light being — 
extraordinary. Medals, 1864, 1867, 1868, 
1878; Legion of Honor, 1870. 


“Reading Rabelais.” 


FRANZ VON LENBACH. 
Born 1836. Contemporaneous. 


Born at Schrobenhausen, Bavaria, 
Lenbach began his studies at the Munich 


44 


BIOGRAPHICAL NOTES AND INDEX 


Academy, with Albert-Grafle and, later, 
with Piloty, with whom in 1858 he went to 
Rome. The year 1860 found him a pro- 
fessor at the Weimar Art School; he re- 
mained two years, returning to Italy and 
Spain, where he copied the old masters. 
Lenbach has painted the leaders of Ger- 
many—royalty, soldiers, statesmen, mu- 
sicians, poets, artists, and men of affairs 
generally, and he was the acknowledged 
pictorial historian of Bismarck, with whom 
he was on intimate terms. He is one of 
the great portrait painters of this century. 


“ Marietta ”’ (pastel). 


ANTOINE VOLLON. 


Born 1833. Died 1900. 


The most distinguished of all modern 
still-life painters and one of the best of 
the world’s colorists. He was born at 
Lyons and showed early talent, but all 
through life was a great recluse. Stu- 
dents followed him about, anxious to get 
his teaching, but he would not allow them 
in his studio. Landscapes he painted with 
scarcely less ability, though the world in- 
sisted on having from him studies of still- 
life with which his name will ever be asso- 
ciated. He was successful and received 
many honors. Medals, 1865, 1868, 1869, 
1878; Officer of the Legion of Honor. 


“ Still Life.” 


45 


BIOGRAPHICAL NOTES AND INDEX 


GEORGE WEISS. 7 
Contemporaneous. 
Honorable Mention, Paris, 1808. 
“ Asking the Way.” 


FLORENT WILLEMS. 
Born 1823. Contemporaneous. 


A careful student of the old masters 
and a genre painter of much distinction, 
Willems was born at Liege, becoming a 
pupil of the Mechlin Academy. As early 
as 1840, being then only seventeen, he at- 
tracted much attention and when he was 
twenty-one so great was his success in 
Paris with his picture “ Visit to Young 
Mother,” that he concluded to settle there. 
It brought him a medal. He received the 
Legion of Honor in 1853. Americans 
have been consistent patrons, his pictures 
being in many well-known collections, in- 
cluding those of John G. Johnson, August 
Belmont, W. P. Wilstach, «1. sas @sceum 
Catharine L. Wolfe, Mrs. Paran Stevens, 
R. L. Stuart, W..T:. Walters; an@ staan 

others. Medals, 1844, 1846, 1855, 1867, 
1868 ; Commander of the Legion of Honor. 


“ Confidences.”’ 


JULES WORMS. 


Born 1832. Contemporaneous. 


Worms has painted so much of Span- 
ish life that he has become identified more 


46 


BIOGRAPHICAL NOTES AND INDEX 


or less with that race. He is a French- 
man, however, having been born in Paris 
where he was a pupil of Lafosse. He has 
traveled extensively, always going back 
with pleasure to Spain. A good draughts- 
man, possessing a capital feeling for color 
and above all, seeing the picturesque with 
a keen eye, his pictures appeal to a large 
public. Medals, 1867, 1868, 1869, 1878; 
Legion of Honor, 1876. 


“In the Courtyard.” 


FELIX ZIEM. 
Born 1821. Contemporaneous. 


Zeim’s name will ever be associated 
with pictures of Venice, for he has, so to 
speak, become the pictorial historian of 
that beautiful city. He was born at 
Beaune, Cote d’Or, and studied at the art 
school at Dijon. Much travel in the east 
gave him delight in gorgeous color 
schemes and he brought back with him 
souvenirs of Constantinople and has since 
painted many pictures of that place. His 
fame as a painter of Venice is world-wide 
and his pictures are in most of the impor- 
tant collections in Europe and America. 
Medals, 1851, 1852, 1855, 1878; Officer 
of the Legion of Honor. 


“Antwerp in 1871.”’ 
“Grand Canal, Venice.”’ 


47 


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? 


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I 
G. HAQUETTE. 
ENTERING PORT IN A STORM. 


Through pounding seas a fishing boat is being 
brought into port. The sturdy old tars at the oars are 
bending at it and straining every muscle. A wave 
breaks over the bow, and to avoid swamping, one of 
the sailors tugs at oar to turn the craft head on. A 
lighthouse is seen in the distance, and a faint line of 
shore to the left. 

Signed at left. HI. 214, W. 283. 


ANTOINE VOLLON. 
STILL LIFE. 


Upon a table in careless profusion are books, writ- 
ing materials, a globe and other things thrown upon 
a gay colored cover. A green curtain is to the left. 
The painting has the unction and mellowness of this 
great painter of still life. 

Signed at right. Ho, WG: 


i 


itil 


51 


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| 3 
WILLIAM GEGERFELT. 


VENICE, SUNSET. 


A quite unusual effect of light, showing a red sun 
sinking over the Grand Canal. The great expanse of 
sky is full of delicate, fleecy clouds, catching here and 
there the touch of pink light. To the right a street 
passes by some palaces and is thronged with women 
in gay colors. A curious intermingling of the ancient 
and modern is seen in the craft on the water, wherein 
gondolas, steamships and sailing vessels jostling each 
other. The scheme of the picture is in delicate tones. 


Signed at right. H. 34, W. 524. 


4 
ANTONIO CASANOVA. 
GATHERING FLOWERS. 


The graceful pose and delicate coloring in this 
little picture are unusually happy, and the attractive 
woman in pale pink, with parasol, who leans over to. 
pluck a rose, is the embodiment of refinement. There 
is suggested a balcony and the sky is seen through the 
foliage. Much freedom is expressed in the painting, 
which is masterly, while the head is full of careful de- 
tail. | 


Signed at right. H. 133, W. 10. 


2 


J. H. L. DE HAAS. 
COWS IN PASTURE. 


In a field full of broken autumnal tints, with a 
suggestion in the distance of sand dunes here and 


52 


WILLIAM GEGERFELT. 


VENICE, SUNSET. 


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there, are some cattle being driven home by a peasant 
woman. Two of the animals are in the immediate 
foreground. One is white and black, the other red, 
with white patches. Both are in full sunlight, under a 
heavy afternoon sky. The quality of broken color and 
the pleasing lines of composition are the work of an 
able craftsman, and the picture, ale kept broad, does 
not lack finish. 


Signed at left. H. 124, W. 184. 


6 


LOUIS DE SCHRYVER. 
THE FLOWER GIRL. 


Bess lovely young flower seller, Parisienne of a cer- 
tainty, is standing at the curb, by the Place de la Con- 
cord, Paris, looking with longing eye at the passing 
equipages. Her basket is loaded with roses, holly 
hocks and other brilliant bloom. The girl is dressed 
in a blue skirt with a purple waist and stands in a chic 
attitude, essentially French. The Obelisque is seen 
in the distance, and there is the brilliancy of weather 
suggesting spring in Paris. 

Signed at left. H. 9, W. 64. 


Q 
JULIUS ROSE. 
“THE FJORD.” 


A handsome panoramic view, looking down one 
of the famous Norwegian fjords, from which rise great 
hills, some of them touched here and there with snow. 
Through the purple distance, making her way majes- 
tically, is a modern steamer. To the right, on a patch 


53 


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of green, is a little cluster of houses, running back 
from the rocky shore, denoting the lovely village. The 
sky, of the blue of midsummer, is flecked with white 
clouds. 


Signed at right. CAE. H. 284, W. 44. : 
y es 


i 
o 


RPP 
SUNDAY MORNING. 

Two sisters are obviously preparing for church, 
the elder being engaged in plaiting the younger’s hair. 
The scene is in the humble room of a peasant’s house, 
and the modest furniture is in keeping. On the bureau 
is spread an old cloth as a cover; some flowers are in 
a glass and a mirror hangs against the wall. The 
simple frankness of child life is well expressed, and the 
coloring is in agreeable tones. 

Signed at right. @’4°- —H. 20h, W. 383. 

geet: 


9 
JOHN CROME (“OLD CROME”). 
A NORWICH RIVER. 


The fine tonal qualities, so great a distinguishing 
trait of this remarkable English painter, are seen in 


this picture and are significant of his color sense. The 


scene is a riverside, with an old barge moored by the 
dock near a mill. There is evidently a town near, half 
hidden behind a woodland, for glimpses of the houses 
are had occasionally. A tree makes up to the left cen- 
tre and all is under a mellow, quiet light, very broad 
and effective in treatment. 


H. 14) Wrieeas 


THE CORPORAL DRINKS. 


E. BERNE-BELLECOUR, 


i 
f 
{ 


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LO 
avi COL. 
MARKET SCENE, 


Col has given here a most amusing and interesting 
view of a market place at a French village, with all the 
incidents of both comedy and-tragedy. The ubiqui- 
tous boy with his dog has brought about much confu- 
sion, upsetting stalls and precipitating quarrels. The 
hucksters are grouped about a tall bronze statue; 
quaint architecture is seen in the background, and a 
gendarme views the events with usual stolidity. Bright 
and gay in color and full of movement. i 

Signed at right. Hie 13, WV. 18. 


ist 
Pele LOUSTAUNAU. 
GATHERING SPECIMENS. 


Two picturesque enthusiasts have stopped in their 
search for butterflies to rest on the side of a wooded 
hill at the foot of some stone steps. One, a slender 
party in brown coat and wig, lights his pipe. The 
other, quite overcome with his exertions, for he is of 
generous build, fans himself and pants. He is seated 
on his gorgeous green coat. Through the woodland 
is seen the sunlight, and the story is capitally told. 
The work is in thoughtful detail. 


Signed at right. | Et 797. WV 20. 


RF. WILLEMS. 
CONFIDENCES. 


Lounging against the brick front of an ancient 
house, a handsome cavalier chats nonchalantly with a 


55 


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trig-looking maid in long white apron and bearing on 
her arm a basket filled with flowers.. One of the petals 
she pulls abstractedly as she listens. Through an open 
doorway is seen a corridor, and in a window to the 
left is a flower-pot. The man’s costume is of a rich 
elegance and his black cloak is heavily embroidered. 


Signed at left. ¥Zo? H, 224, W. 18. 
FAIKK 


| 13 
E. BERNE-BELLECOUR, 
THE CORPORAL DRINKS. 


Standing squarely on his feet, a corporal of artil- 
lery, in his picturesque blue French uniform, with red 
trimmings, is about to pour out a drink from his can- 
teen into a tin cup. The pose is a characteristic one 
and eminently suggestive of the Gallic militaire. There 
is a simple landscape as a background, with some 
rocks. . The detail of the face, uniform and accessories, 
is carried out in a remarkable manner. ~ 


Signed at right. H. 15, W. 103. 


aie 


* 
Ae) bye RRA 
k y WN Neh. ay We, [: ee Be! xX Lua E M . 


ANTWERP IN 1871. 


From the flat shores of the river Scheldt, lined 
with quaint old shipping, is seen the distant city, the 
spires and steeples outlined against the sky. The 
many colored sails and masts so characteristic of the 
place are here and give a bright note of color in which 
Ziem delights always. There is a grayish sky, quite 
luminous, and the work has the breadth and directness 
for which the artist is noted. 


Signed at right. Hi. 134, W. 204. 
56 
N V 4] wr ac 
\ Me 40 b 


A. STEINHEIL. 


A LA FENETRE 


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fa) 
‘ed 


ih We ¢ A [ v Orta 
CHA | ACQOUER. 


SHEEP IN FOLD. | Q DB: 
| Bait: 


Baoding sheep with a knowledge and equipment 
possessed by few artists, Jacque has not been surpassed 
in his rendition of those homely farm scenes wherein 
the most simple of motives suffices with which to make 
a complete work of art. Some five sheep are grouped 
about the corner of a fold, while fowls are perched 
about on trough and on a ladder at the right. A ray 
of sunshine catches a stone wall and filters over the 
straw, the sheep and surroundings. 


Signed at right. H. 15, W. 18. 


16 
ANTON MAUVE, © i 
MORNING (WATER COLOR). 


‘Under a heavy, leaden sky, with a broad band of Bale 
light near the horizon, along a-’wet road, comes a 
wagon loaded with seaweed, horse and figures being 


iy i ee 
represented with characteristic soddenness of the toil- a | 7 ee 6 
ing classes. The composition is quite Homeric in > Fi \) 
its simple lines and big sentiment, while the manner of f é 


painting is no less virile. 


Signed at right. H. 84, W. 14. 


HENRI HARPIGNIES. 
LE SOIR. 


The subtlety and charm of Harpignies’ work were 
never more apparent than in this exquisite little ren- 


57 


\ ; SU Yi eisai 


“ane 


f : ' a CATALOGUE joe } /8 
oil gs dering of a hill side by a placid rive” <A group of trees 


to the left, a sky of unusual delicacy and refinement, 
with green growth of almost opalescent tints, all make 
up the simple elements of a poetic work of much dis- 
tinction. . 


H, 15, Woah. 


Andes (£9 


A. G. DECAMPS. 
SELLING THE SLAVE. 


j Two Turks are haggling over the probable pur- 
, chase of a beautiful white slave. The scene is out of 
4) doors and the warm sunshine falls on the woman thus 
| 1 v to be disposed of. Strongly contrasting with the olived 
4 om skinned, swarthy figure in rich costumes, the captive is 
i Nw prominent in her attractive flesh tones, while the pic- 
ture, as a whole, has a mellow ie of. Soles charac- 

teristic of this painter. 


Signed at left. TH.'233) Wea: 


19 
JAMES STARK. 
NEAR THORPE, NORWICH. 


By a fence to the left of this picture, two peasants 
are lounging under the shadows of some great trees 
touched with yellow tones. A cottage is seen beyond, 
and through the centre runs a characteristic English 
road by the side of which and to the right has fallen a 
A tree trunk. A stream is seen at the distance and a 
(| | oy. sky full of cumuli clouds is luminous to a high degree. 
x ; 4| Careful attention to detail and much finish are the 


58 


‘LTAVUAdd “TI “MANVATO AUVAM AHL ‘VE “ON 


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characteristics of this early English school here so well 
represented. ! 
H. 113, W. 158. 


20 
RIDGWAY KNIGHT. 
LILAC SEASON. 


Two French peasant girls are standing under a 
great flowering lilac bush, from which they are gath- 
ering branches of purple blossoms. The fertile hills 
of the Seine stretch out in the distance from the river 
bank, and there are seen a stone wall and red-tiled roof 
‘to the left. All about are evidences of luxuriant 
growth of flowers, and the picture is gay in color. 


Haro. 25k: 


Signed at right. 


21 
Eo MEISSNER. 


LANDSCAPE AND SHEEP. 


Standing on the brow of a hill, an old shepherd, 
forgetting his flock for a moment, watches some chil- 
dren building a fire. Near him is a baby in a little 
rude wagon, and in the foreground are many sheep 
with some little lambs. There is a gray lowering sky, 
broken near the horizon by a burst of sunlight which 
illumines a field wherein are some workers plowing. 
The variety in the composition gives much interest. 


Signed at left. Td 25 WV a0. 


59 


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gE 
V. HENRY LESUR. 
ON THE QUAI. 


The picturesque color, costumes and architecture 
of old Paris are presented in this dexterously painted 
picture. On the quai, pausing before a bookstall, a 
young gallant stops from his literary searchings to look 
at a group of two pretty women who are buying 
flowers. We see the quaint buildings, with tiled roofs, 
and the two towers of the Notre Dame. The satins 
and picture-hats of the women, the brilliant roses and 
flowers on the stand, and the general gaiety of the 
place make this panel wonderfully engaging. 


Signed at left. H. 24, W. 20. 
23 
REBEUS-SANTORO. 
CANAL IN VENICE, 

The dolce far niente of Venetian life is well repre-. 


sented in this picture, which shows a canal with palaces 
rising out of the water, gay with brilliant colored cur- 


tains, flowers and stone work. ‘To the left, a luxuriant 


growth of trees is seen in a garden, which is walled in. 
Gondolas are moored beside the houses, and one, laden 
with a fair passenger lolling under a red parasol, is 
coming directly toward the spectator. ‘The sky is of 
a heavy summer blue, and the buildings make inter- 
esting lines as they silhouette against the heavens. 


_ Signed at right. H. 23, W. 204. 


24 
JEAN BERAUD. 
RUE DE LA PAIX, 


Beraud is essentially the historian of modern, 
fashionable Paris, and this scene of the life, gaiety and 


60 


‘SHINDIGUVH INNA “ONIOT AG SGUOD XNV "18 ‘ON 


& 


= 


; 
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movement of the world’s metropolis is wonderfully well 
represented in this composition. The brilliant crowds 
of well dressed women and men, the many equipages 
with properly groomed servants, and the chic of high 
life are fairly photographic in detail. One sees the 
column Vendome in the distance, and a messenger in 
green uniform threads his way across the street. 


Signed at left. H. 144, W. 21f. 


25 
oe VICE N BURG. 
PREPARING BREAKFAST. 

In a rather sombre old Dutch interior, seated by 
-a table, are two peasants. One, a woman, is grinding 
coffee while her husband looks at her as he smokes his 
pipe. A window at the back lets in some light which 
makes rather strong contrasts. The scene is essen- 
tially of Holland, and, in its sobriety, possesses much 
sentiment, while the painting is impressive in its sim- 
plicity and earnestness. 


Signed at right. H. 434, W. 364. 


26 
GEORGE VINCENT. 
NORFOLK HOMESTEAD. 
A typical English farm scene by this interesting 


English painter shows a great group of trees at the © 


right, beyond which are seen the red roofs and chim- 
neys of the house and outbuildings. In the centre is 
a large haystack, with a wagon laden with grain. 
There are some cattle grazing, and to the left, a cart. 
In the foreground is a stream into which has fallen an 
old tree trunk. A summer sky with great white 


61 


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clouds radiates light, and the picture is bathed in a 
warm, mellow tone. 


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27 
LAURA: TADEMY. 
THE TOAST. 


By a casement window and seated at a table are 
two cavaliers in broad white collars, one of whom 
pledges the health of lady clad in soft robes, her blond 
hair caught up with a string of pearls. They hold 
their glasses together and look in each other’s eyes. 
Outside the window is a green lawn on which graze 
sheep, and on the spotless white table are the remains 
of a repast. 


Signed at left. H. 15, W. 20. 


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TONY OFFERMANS. 
THE PATIENT ANGLER. 


Seated by the bank of a stream, a stolid peasant 
in gray clothes and sabots, sits holding a pole and 
watching his line. The facial expression is capital and 
the patience is admirably suggested in every line of the 
features. Behind, a field stretches off under an even- 
ing sky reflected in the water, and the quiet of even- 
time is given. with artistic ee 


Signed at right. uk 


“HNAHNOdT ALSNONV SIOONVAA ‘AVA TSHNIVINOA AO LSAXOd AHL NI WILLVO "SS “ON 


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29 
WILLIAM HART. 
CATTLE AT BROOK. 


Some cattle in a meadow, through which runs a 
brook, are drinking. To the right a large tree comes 
against a somewhat dramatic sky, which, near the 
horizon, is filled with rain clouds. A burst of sunshine 
illumines the immediate foreground and animals, and 
the contrasts of light and shade are admirably ren- 
dered. 


Signed at leit. Hi 37, W. 30. 


30 
TH. VON CEDERSTROM. 
AT HIS EASE. . 


Seated before the fire, with his newspaper, the 
chief functionary of the household, in gorgeous livery, 
takes his comfort. A superb tapestry is on the wall; 
the carved stone mantel with its handsome metal orna- 
ments and the general surroundings bespeak almost 
royal habitation, and the figure carries this out. Ona 
table with a green cloth are some books, and at one 
side is a smoking tabouret with pearl inlays. All is 
painted with minute finish. 


Signed at right. H. 20, W. 154. 


aT 
me SyPiNHEIL, 
A LA FENETRE. 


_ For astonishing representation of detail, this 
painter is surpassed by few of his confréres. This 


63 


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picture is quite characteristic, depicting a cavalier clad 
in red, with silken hose and broad hat. A sword is 
suspended by great leather straps, and there are ample 
white cuffs and collar. The man is half kneeling on 
a chair and looks out of an open casement window, 
through which is seen some foliage. The red clothes 
catch the sunlight and reflect against the pink wall of 
the room. 


Signed at left. Hi. 13, W. 84. 


32 
RUBENS, SANTORG@S 
CANAL SAN MARINO, VENICE. 


This astonishingly facile painter gives us a glimpse 
of a street in the quaint city by the Adriatic, the hand- 
some palaces lining the Canal, offering great variety of 
picturesque architecture. A modern steamer is moored 
to a distant wharf; some gaily-colored sails are spread 
on fishing boats, that drift lazily, while sombre gon- 
dolas, filled with women in brilliant dresses, serve as 
Venetian cabs. In short, a bright, gay scene of Venice, 
as most travelers see it, and faithfully recorded. 


Signed at right. H. 124, W. 16. 


32 
R. ERNST 
THE MISER. 


An old Turk, in tattered yellow gown, has been 
surprised in the counting of his money. He sits be- 
fore a tabouret on which is the gold. Beside him is 
an open strong-box; behind, a frightful looking negro 
stretches forth a long black bony hand to seize the 


64 


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treasure. ‘There is a rug on the floor; the room, orig- é 4 0 
__inally tiled in blue, is dilapidated, and through an open | 
door streams some sunlight. The miser, in his long 
patriarchal beard, is horror stricken. A dramatic 
' work, skillfully executed. 


Signed at right. H. 284, W. 223. 


34 
L. PERRAULT. 8, Oo 
THE WEARY GLEANER. 


Vv 

Tired out with work, a young peasant girl has 
thrown herself down on the earth, and, making a pillow Wee 
of a sheaf of grain, into which she has placed her sickle, df } f-4¥r9) 
has gone to sleep. Her feet and arms are bare and her hE Me rs 
red petticoat contrasts with a black waist. A basket 
of apples is on the ground, and behind is the shadow 
of deep foliage. The picture is rendered in great de- 
tail, with much technical skill. 

Signed at left. H. 374, W. Ot. 

35 . \ \ at ‘ } \ 4 : AY 
Piles DUPRE: oro 2 
A RIVERSIDE. Pitney ¢ 
A characteristic composition with large tree to ir el? earl) 


the left outlined against a tender sky of white clouds, 
varied with a glimpse of blue. The tender distance, 
the deep shadows in the stream and the envelopment of 

_ light and air, are in the best manner of this distin- 
guished French landscapist. 


Signed at left. }o, eh. bo EDEL NVnO: 


Avs % 324 


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} s' LEAN 36 
| ROB TE 
. ROSES. 


A great mass of cut flowers, principally pink and 
white roses, just thrown down carelessly on a stone, 
are lifelike in their remarkable finish. The brilliancy 
of the color, the faithfulness of drawing and the sparkle 
and light are admirably expressed. <A bee, satiated 
with the sweetness of his meal, crawls lazily away. 


Signed at right. Ho 42. W227. 


37 
GEORGE: WEISS) 
ASKING THE WAY. 


A party of gaily costumed ladies and gentlemen, 
the former mounted on donkeys, are coming through a 
mountain pass and have stopped before an inn to ask 
their way. The landlord directs them; a little girl 
feeds the animals and a mother looks on complacently. 
Distant hills loom up and the vineclad porch of the inn 
is outlined against a blue sky. 


Signed at right. FLL 2On ira 


28 
J. A DE HAS 
THE RIVER PASTURE. 


Low stretches of marshy pasture land by a river- 
side, some bushes to the right, and distant shore, give 
the environment for a group of four cattle grazing. 
These are interesting in colors—black, red, white and 
light brown—brilliant under a sunny sky. The 


66 


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painter has limned his picture with a free, virile brush, 
and made a pleasing composition. 


Signed at left. PL TO, (W255. 
39 
FOGENIBERT. , 
READING RABELAIS. Jie yi 5 


A cardinal seated in an upholstered chair is read- 
ing one of the yellow covered French issues of Rabe- 
lais and is smiling over it in quiet enjoyment. Behind 
is a green curtain. The brilliant red of the costume 
is striking and somehow seems associated with this 

‘clever French painter. 


Signed at left. Wea, H. 15, W. 11. 
wal 
40 ff 
ec) CAZIN: : 
THE CHATEAU FARM. ska 
j Ay {) © 
Flat plains, with fertile fields of farm lands are j / 


here represented under a warm, mellow sky, such as 
Cazin delights in painting. The light falls unevenly 
over the landscape, glinting here and there with golden 
tones a tree, or stone wall, and giving interesting vari- 
ety tothe picture. A hay rick is to the right and some 
haymakers are working in the fields. To the left is the 
white wall of the Chateau, alongside of which runs a 
road. ‘The technique is characteristic and the senti- 
ment, of much refinement, is well maintained. 


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| AI 
| JL. GEROME. 
RETURNING TO THE PALACE, CAIRO. 


Under the shade of some tall trees, along a cool 
alley and through a fine gateway there rides a high 
official, mounted on a sorrel horse, accompanied by 
his dog.. The curious archway, decorated with tiles 
and arabesques, is interesting. A servant with a 
donkey stands near it. A simmering blue sky exudes 
heat and a minaret in the distance takes on a purple 
tone. -The rider’s head is swathed in a white cloth, 


and his belt, girdling his bright green coat, is stuck 


full.of swords and pistols. 


Signed at left. 797 é H. 25, W. 10. 
gy he arn d® 
q we 4 o>} 
MARTIN RICO. 
VENICE. 


There is seen to the right a bridge over the Canal, 
with many passers, showing the life of the gay city. 
Equal activity is seen on the water to the leit, the Canal 
being crowded with craft of all kinds and colors. The 
sky line of the city at this point is highly interesting, 
being broken by the campanile and various domes. 
In a gondola, at the right, is a mother and family, and 
the: quiet water reflects the sparkling tints of sails, 
architecture and craft. | 


Signed at right. ¢ 2067 He Te ea, 


43 
: RIDGWAY ) KNIGEIE 
- REST BY THE WAYSIDE. 


An attractive French peasant girl returning from 
market has stopped a moment to rest, leaving her 
68 


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basket by the road. She stands, arms akimbo and her 
face has a thoughtful expression. Behind here is seen 
the river, with misty blue hills, and to her left there is 
a bush in full bloom. There is a delicate sky, and the 
tender greens proclaim the early season of the year. 


Signed at left. J§Y2- H. 22, W. 18}. 
“usr. 


‘a rn A rf 
GEORGE INNESS. Wy. Gaderbes 
SUNSET ON THE BEACH. ae 


It is interesting to observe the facility with which i 
this painter attacked all subjects and secured satisfac- 
tory results. Here the motive is only sky, seaanda * 
stretch of shore. A lurid burst of sun, gold and yellow 
as it sinks, illuminates all with a brilliant yellow light. 
There is little detail, the effect being by suggestion, yet 
all is wonderfully complete in expression, and the 
brush-work is masterly. 


Signed at right. TL. 20, WV2/30, 


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45 
E. BERNE-BELLECOUR. ye 
THE SENTINEL. we 


With surprising detail this military painter renders 
here a familiar scene of a French cavalryman standing 
by his horse’s head. The blue tunic, red trousers and 

_ trappings of the soldier are expressed with great 
minuteness, down to the last button and strap, and the 
animal is no less faithfully depicted. The place is a 
rugged mountain pass, with great boulders and distant 
hills, while an evening sky lights up the group. 


Signed at right. H. 184, W. 134. 
69 


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TG NG | my 
EBEMILIO ; SANCHEZ PERRIDR a 
THE RIVER AT ST. OQUEN, 

Few of the modern landscape painters get more 
thoughtful detail than this gifted Franco-Spaniard, and — 
his pictures have a deserved popularity. Unusually 
brilliant greens are rendered here in the tree forms 
that come up from the river, and the anatomy and con- 
struction of the growth are indicated with consummate 
knowledge. Glimpses of red-roofed houses are seen 
through the foliage, and along the bank are moored 
boats with fishermen. A clear blue sky is only broken 
by some fleecy clouds at the horizon. 


Signed at left. 3 H. 154, W. 12$. 


47 ty 
ALPHONSE DE NEUVILLE. 
CHASSEUR D’AFRIQUE. 


The glorious swagger of this Ethiopian Zouave, as 


this master painter presents him, is superb. Loaded 


down with arms and equipment, wearing a blue tunic, 
great baggy trousers, once white, and a red fez on his 
head, he leans against the wall and blows a cloud of 
smoke. One hand rests lovingly on his sword-bayo- 
net, the other holds the barrel of his gun. The fine 
dash of the distinguished French military painter’s 
brush is seen throughout. c sana 
ae : 2S - 8 
Signed at Tight owe vat x” «OH. 10, W. 73. 


AS |. 
LOUIS: BRUCK-LAJOS: 
THE POOR HELPING THE POOR. 


The touch of nature is given here in the serious 
story of the beggar children appealing for charity to 


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ETERLE. 


MARIE DI 


CATTLE DRINKING 


No. 58. 


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the almost equally unfortunate peasants who are 
grouped about a table in a poor cottage where the 
whole family live in one room. By the door these 
beggars in rags make a pathetic picture, and one poor 
child eyes with longings the pot au fer simmering on 
the fire. About are quaint pieces of china, furniture 
and the entourage of hard living in the daily struggle 
for bare necessities. 


Signed at right. Pe ase WV 57. 
935o. acme -/ 2, 4/4 Fa. 


49 
PRANS VON*+ LENBACH. 
MARIETTA (PASTEL). 


It is entertaining to eg in this drawing the 
method of procedure of the great German painter. 
The subject is a little girl’ aning on her arms. The 
work is sketchy; but each,stroke is full‘of meaning, and 
the faint suggestion of color is attractive. 


Signed at right. |e beeen Ww. 19}. 


a! Z : : 
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Mauss a 


PutOotmrh A SCHENCK. 
SHEEP IN STORM. 


The terrific storm of snow on the mountainside 
almost hiding the lines of landscapes, sheep huddled 
together, the shepherdess and her faithful dog—these 
have furnished this artist themes for his life work. In 
this canvas all these elements ate present and portrayed 
with great skill. The animals are painted no less ably 
than they are drawn, and each position shows astonish- 


71 


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ing knowledge of the habits and peculiarities of the 


brutes. 
Signed at left. H. 283, W. 38. 
: , ; Lon | ae hk s 5 I 
“®) < % bo . aad eo." ‘ 
‘ HENRI HARPIGNIES. 
v : AUX BORDS DE LOING. 
T) | A brilliant example of the landscape art of a dis- 
f\ tinguished French master, showing an intimate stretch 
AY le of country through which runs a stream reflecting a 
hd L mid-summer sky. A little hamlet is seen in the middle 
i distance and by the water side some children are fish- 


ing. The time seems near midday, for the shadows 
are powerful and the diversified aspect of the land is 
wonderfully well expressed. 


. Signed at left. AAMSEED 3 pri: W. SO 97 
$M. S86 Kaos ian 
rae / 


sets 
A. STEINHEIL. 
A CRITIC. 


In a quiet, artistic studio, the work-room of a 

Dutch painter, a patron sits in a great easy-chair. He 

il is before the easel, talking of the canvas thereon. The 
EG) artist, palette in hand and leaning one hand on the back 

ee eB of the chair, listens. A picture, framed in black, hangs 
i Pai on the wall, and a cabinet, with much elaboration of 
i metal ornament, is to the left. The disposition of light 
i) and shade is admirable, while all the detail is complete 
in realization. JK. 


di 


Signed at left. aes" HH. 18, W. 148. 


72 


‘WAIZ XIIAA "AOINAA “TIVNVO GNVUD ‘Lo "ON 


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erg ke eee 
EUGENE ISABEY. 
CALAIS HARBOR. 


A quite remarkable piece of marine painting 
within a small compass is shown here, and this modest 
panel displays the action of an angry sea, dramatic sky 
and huddled groups of fisher people, with masterly 
force. A packet-boat is making her way into port, is 
tossed by channel waves. Interested spectators gather 
about on the pier to the left. The color is rich and 
mellow and the brush work wonderfully free. 


Signed at left. Toa W als. 


ee 34 
AUGUST HAGBORG. 
THE QUARREL. 


Seated on an old sawhorse in front of a fisherman’s 
cabin are a fisher maid and youth. She is knitting, 
with bended head, and he, with arms folded, regards 
her stolidly. On the ground lies a rose, evidently 
thrown there in anger. It is the old story; the course 
of true love has been interrupted. To the left is the 
sea, with an old boat. The scene is faithfully depicted, 
with clever technique. 


Signed at left. F320 VV RG, 


i, 
PaeeNCOls AUGUSTE BONHEUR. 


CATTLE IN THE FOREST OF 
FONTAINEBLEAU, 


The original picture from which was made the 
enormous canvas, “ Woodland and Cattle,’ at the 


73 


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Metropolitan Museum of Art, coming from the A. T. 
Stewart collection. Here is a great herd of cattle in a 
woodland. Some are in brilliant sunshine, others in 
cool shadow, with glints of light making attractive 
notes. There is superb animal drawing here with 
masterly observation, and the landscape part of the 
picture is no less attractive, all being composed with 
agreeable pictorial invention. ) 


: a. a 
Signed at left. , Ay 


JOHAN BARTHOLD JONGKIND. 
ON THE CORNICHE ROAD. 


The dazzling sunshine of the midi is expressed 
admirably in this pitilessly white road that stretches 
far off by the side of a canal. A team is coming 
toward the spectator and is dragging a boat. A line 
of trees simmer in the sunlight, while to the right some 
houses and a long wall catch the light. The scene is 
picturesque, and—hot. 


Signed at right. FL 23)" Wage. 


57 
CHARLES MEISSONIER. 
THE MUSKETEER. 


Much after the fashion of his father, the younger 

man has depicted in this panel a sturdy young soldier 
pacing the ramparts of an old battlement. ‘He is pic- 
turesque, clad in a yellow tunic, with leather trousers 
and red stockings. Over his shoulders is an old- 
fashioned musket, and far beyond, the towers and roofs 
of an ancient city may be seen. Against the wall, to 


74 


‘AANVIN NOLNV ‘ITAM AHL LV WILLVO 89 (ON 


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4 me ., the left, two soldiers are chatting. The work is marked 
‘ by careful interesting detail. 
Signed at left. H. 13, W. 9$. 
58 
MARIE DIETERLE. ¥ 


CATTLE DRINKING. 


In the corner of a French farm yard, by the side # / i) ? % 
of a stream, some cattle are drinking, a white cow LN | ben 
being in the immediate foreground. To the left, under 

some trees, is a thatched-roof barn, and a peasant 

woman may be distinguished at some occupation. The 

animals are wonderfully painted and drawn, and the 

color scheme is bright throughout. 


Signed at left. y, 203, W. 174. 


fag gree 2) A pik 


gall WORMS. v 
IN THE COURTYARD. 


A typical Spanish scene in the court-yard of an CE ge ONE 
inn. A maid in pretty colors is lighting the cigar ofa sey x os 
huntsman, who, with his comrade, is armed and about gif 
to leave. Another gallant arriving is sprawling on a 
box, while a muleteer in the background, seated on his 
animal, is an interested listener of the small talk. The 
architectural setting, so typically Spanish, is interest- 
ing, and the painting skillful in every respect, the pic- 
turesqueness of costume offering many opportunities 
to the painter. 


Signed at right. EL. 19, Wu 24, 
75 


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\ A i 
Ve | CHARLES. JACQUE. 
FLOCK OF SHEEP, MOONLIGHT. 


ay If the night time is an unusual effect with this 
oo painter, Jacque has given, nevertheless, wonderful 
Se a i quality to his flock of sheep under the cool tones of 
Wi moonlight. There are many of them, and the shep- 
° herd, in his cloak and with his dog, leads them along. 
A hay-rick is to the right and two trees are silhouetted _ 
against the sky. The landscape gradually drops to 
the left and stretches away in a valley. A tender sky, 
wonderfully expressive of the color of the hour, is well 
serie) and ue in line and mass. 


OL 
" sw, EDOUARD, DETAIBLE. 
© Ah ae DURING THE MANOEUVRES. 


} The artist, Detaille, par excellence, the historian 
I of modern French army life, gives here in his inimita- 
ble way a frequent scene in the autumn field drills. A 
im company of soldiers of the line in their blue and red 
Ais are grouped behind a windmill; their officers, with 
glasses and map, endeavor to discern the far-away 
‘ troops.. One officer stands on the steps of the mill, 
another is prone on the ground, and all fairly reek of 
military life, for the painter has caught the sentiment, 
the character and the flavor with unerring precision, 
the technique being positively the last word in dex- 

terity. 


Signed i left. bee ie yagee 144, W. 18. 
g@ Ab iS eye. er 


SAV IOI d , “"TANNVHO AHL NI 529, ON 


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62 
Peo OCUAYS, 
IN THE CHANNEL. 


Laboring away under a fair sky, but in a choppy 
sea, characteristic of the English Channel, are some 
vessels, one a fishing craft, the other more important, 
her heavy hull pitching with the cross seas. Far away, 
nearer the horizon, a steamer makes her way with diffi- 
culty. The painting is free and the color fairly opa- 
lescent in its delicate realization of pearly tones. 


Signed at right. FL 20 W) 44: 
V 
i yp); 59 
SET 2) ‘fe }E 
THE FORAGING PARTY. Le 


Toward evening of a gray day a detachment of an 
army have halted fora moment by the side of a stream. 
A fire has been lit around which is a party of soldiers, 
some wearing steel caps, others in armor. A group 
on a bridge discuss the situation over a map. Bare 
trees are outlined against the sky. Sentries pace up 
and down, and the scene of medieval warfare is truth- 
fully rendered. All is wonderfully clever in water 
color handling. 


Signed at right. Es Je V2.0; 


64 
JAN MONCHABLON. Cou, Wes 
LA SAONE A LIRONCOURT, LE SOR. . J 


With a wealth of detail and a finish almost micro- 
scopic, the artist has presented a faithful picture of this 


77 


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aif () quaint old French village, with its cluster of red-roofed 

, . houses, distant hills and lazily flowing river. The sky, 

: 4 } \ “J with its delicate cloud forms and rays of setting sun, 

\ a | 2, 4” is no less skillfully managed, while, on the human side 

i of the picture, equal care has been bestowed. In 

) spite, too, of all this detail, there is an artistic quality 
of breadth in the conception not to be mistaken. 


Dy L 
f a! 4 (53 Signed at right: s H,16, W.. 22. 
Ne gegacaas oe, Vint. IK - 
Se 
| Ne DIAZ os | 
GORGE D’APREMONT, FONTAINEBLEAU. 


¥ A most interesting work, showing a corner in the 

# famous forest, where, through the great rocks, a group 

of peasants linger a moment to chat and play with 

Ki : some dogs. The picture is low in key, but relieved by 

» aa? splashes of sunlight on the figures, and the painting is 

\) kept unusually broad and vigorous. A fine sky en- 
velopes the landscape fittingly. 


Signed at left. ft Liew oy all. 17, W. to. 
; ; Pl EE ge 


ha 
66 


JULES DUPRE. 
THE FARM YARD. 


, Perhaps no more complete or pleasing example 
‘ v4 of the art of Jules Dupré has found its way to this 
N. country than this charming interior of a French farm 
FED ied yard, the old buildings being painted with wonderful 
Na tis fidelity and simplicity, yet with rare skill and effect. 
SO And the sky in its charm of blue tones and white cloud 
\ forms is in the artist’s happiest vein. Cloud and 

shadow are pleasantly intermingled, giving pictur- 


78 


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ARABS IN THE DESE 


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ADOLPHE SCHREYER. 


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esqueness, while textures are expressed in a masterly 
way. . 


> | 
Signed at right.. AS2/ 1H. 22, W. L7. 


FELIX ZIEM. 


GRAND CANAL, VENICE. Il ye 
The brilliant color effects of Venice e been 


given with rare skill and artistic feeling in this impor- 
tant example. In the centre is the Ducal Palace, and 
the Campanile rises up against a warm afternoon sky, 
the buildings taking ona pink glow. <A group of ship- 
ping, with colorfull sails, is to the right, and a barge, 
full of brilliantly dressed occupants, is propelled by 
immediately in the foreground. Gondolas are passing 
and the scene is one of much animation. 


send at right. 


68 
ANTON MAUVE. 
CATTLE AT THE WELL. 


An unusually luminous and colorful example by 
the lamented Dutch master whose pictures are now in 
such demand. Combined with a charming pictorial 
arrangement, there is to the work a tonal quality pe- 
culiarly beautiful. Three cows are drinking; two of 
them are white and the other brown. A _ peasant 
woman attends them. To the left are a great barn and 
a tree with autumnal foliage. The yellow distance is 
intensified by the warm evening light, and the fore- 
ground, in half shadow, makes a cool contrast. Few 


79 


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CATALOGUE 


better examples of this gifted painter have found pe 


way to this country. 
Signed at a 194, W. a, 

PV Ab fs dtp on KK - 
69 


JB: C CORGT 
EVENING. 


The poet of landscape painters is full of his accus- 
tomed charm in this little panel of the late afternoon. 
A large tree is to the right and at its base two figures 
are resting. In the distance, soft and tender under a 
purple haze, the river flows quietly. The light catches 
some white buildings with a mellow glow, and this 
warm tone permeates the picture. In the sky is a 
crescent moon. The composition is characteristic. 


At left, “ Vente Corot,” in red. 


H. of, W. 133. 


70 
ADOLP SCHREYiER: 
ARABS IN THE DESERT. 


Four Arabs in their picturesque garbs, hooded 
and cloaked, each mounted on a prancing steed, are in 
the foreground of this picture, making their way over 
the yellow sands of the desert, about to join the Cara- 
van seen in the distance. The sky, of great brilliancy, 
illuminates the figures and gives added interest to the 
gay colors of the trappings of horsemen and mounts. 
The work is quite in the artist’s most alluring vein. 


Signed at right. H. 193, W. 33. 


80 


CATALOGUE 


71 
CHARLES FRANCOIS DAUBIGNY 
CORBIGNY ON THE NIEVRE 


Corbigny was a favorite resort of Meissonier, 
Daubigny and a mutual friend, Lavoignat, the cele- 
brated engraver of Meissonier’s pictures. Daubigny, 
then in his prime (1851), painted this picture as a 
souvenir and gave it to Lavoignat, at whose death it 
was sold, the present owner obtaining it of the pur- 
chasers, Arnold & Trip. 

It is an exquisite little example of the master, 
painted con amore. ‘There is a splendid realization of 
mid-summer greens showing the quiet, flowing river 
with luxuriant growth reflected in the water. The sky, 
of tender blue, has much aerial perspective, and the 
work is singularly complete. 


Signed at left. 4nfet HS7H. 214, W. 164. 
Orysty She é Y Tn4 KM — 


pes 


/2 
JULIEN DUPRE. 
LE REGAIN. 


In this picture of French harvesters the artist is 
seen in his first success, and, perhaps, the best of. many 
similar works. There are three figures in the imme- 
diate foreground tossing hay and making it into stacks. 
A man in blue overalls, the most important figure, is 
brawny of arm and full of dignified movement, being 
drawn with much feeling. A rather windy, cloudy 
sky is broken by patches of blue through which come 
streaks of sunlight, catching the distance here and 
there. While there is much detail, the treatment is 
nevertheless broad and the picture is impressive. 


Signed at right. H. 393, W. 503. 
81 ° 


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